Scarlett Johansson steps behind the camera for ‘Eleanor the Great,’ about a spiraling lie

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Scarlett Johansson‘s first time directing a feature film, “Eleanor the Great,” has one truly unexpected event. This moment kicks off the movie’s central conflict and feels daring-it presents a difficult problem the film needs to solve. However, everything that happens after that initial surprise plays out exactly as you’d expect.

It’s no surprise that June Squibb’s charming, funny, and occasionally feisty performance carries the film, despite some weaknesses in the story and direction. While Scarlett Johansson does a solid job, she truly allows the 95-year-old Squibb to excel in what is only her second leading role, following last year’s “Thelma.” Even with its flaws, “Eleanor the Great” might still move you to tears thanks to Squibb’s performance, even if you weren’t expecting to be emotional.

Okay, let’s talk about “Eleanor the Great.” It’s a sweet movie, maybe a little *too* sweet at times, considering the potentially heavy subject matter. The story really gets going when Eleanor, played wonderfully by Squibb, finds herself adrift at a Manhattan Jewish community center after moving from Florida. She’s reeling from the recent loss of her best friend and roommate, Bessie (Zohar), and is now staying with her daughter, Lisa (Hecht), in New York. It’s this change and loss that really sets the plot in motion.

Lisa, feeling overwhelmed, takes her spirited 90-year-old mother, Eleanor, to a choir class at the JCC. However, Eleanor quickly dismisses the singing and instead joins a support group, only to realize it’s for Holocaust survivors. When asked to share her own experiences, Eleanor unexpectedly recounts the harrowing story of her friend Bessie’s escape from a Polish concentration camp, a story she learned through many sleepless nights filled with Bessie’s painful memories.

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Eleanor told a lie that could have easily been forgotten if she’d simply skipped their usual meeting. However, things get complicated when Nina, a journalism student at NYU, asks to interview Eleanor for a class project. Eleanor first says no, which is the smart thing to do, but then changes her mind and invites Nina over after her grandson cancels their Shabbat dinner plans. This starts a friendship based on a falsehood, and it’s clear trouble is brewing.

Nina and Eleanor’s connection grows beyond their initial work together because they’re both dealing with profound loss and loneliness. Eleanor is grieving the death of Bessie, while Nina recently lost her mother. Both women also have strained relationships with their families – Eleanor with her critically ill daughter, Lisa, and Nina with her grieving father, Roger, a TV anchor. They find comfort and unexpected friendship in each other, sharing simple moments like lunches, attending events together, and taking trips to Coney Island.

Eleanor announces she wants to have a bat mitzvah, explaining she missed out on it as a child because of the war (though she actually converted to Judaism when she got married). This feels less like a genuine spiritual journey and more like a setup for a major reveal. It also conveniently allows her to frame her recent dishonesty as being inspired by teachings from the Torah.

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It’s difficult to accept her constant dishonesty, which likely explains why the movie largely keeps her separate from the support group. Being alongside actual survivors would be too jarring. Instead, we see her mostly interacting with a college student who has no connection to her experiences. Johansson cleverly uses flashbacks to Bessie’s life story whenever Eleanor speaks, creating a sense that Eleanor is embodying her friend and her suffering. The film intends to give Bessie a voice even after she’s gone, and it’s surprisingly accepted by everyone, possibly because Squibb’s performance makes it hard to stay angry with her.

Johansson’s direction gets the job done, but isn’t particularly memorable, making you question her connection to this story. While the script explores difficult themes on a small scale, it doesn’t fully delve into the complexities, instead focusing on simple feelings. The film works largely because of Squibb’s strong performance and likable presence. Kellyman also delivers a great performance alongside her, but ultimately, this story about an unusual friendship is a fleeting one – easily forgotten after watching it.

Walsh is a Tribune News Service film critic.

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2025-09-27 04:31