Eleanor the Great

Tropic Sprockets by Ian Brockway

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Actor Scarlett Johansson delivers a directorial debut with “Eleanor the Great.” The film is earnest and affectionate but will land a bit too conventional and sticky sweet for most discerning audiences. 

Octogenarian Eleanor (June Squibb) lives in assisted living with her friend Bessie (Rita Zohar) a Holocaust survivor. The two friends are inseparable. Shortly after a grocery store outing, Bessie passes away. Stricken with grief, Eleanor agrees to move back in with her daughter Lisa (Jessica Hecht) in New York City. Worried about mom, Lisa convinces Eleanor to join a support group.

As it turns out, the meeting is specifically for Holocaust survivors. While intimidated, Eleanor is suddenly inspired and tells a story about escaping from Nazis, train transport and the camps. The members are deeply moved by Eleanor‘s riveting account. Nina (Erin Kellyman) asks Eleanor for an interview to help her with her college project. Eleanor agrees as she is taken in by Nina‘s nonjudgmental perspective and youth. The two bond in friendship.

Then Nina’s father (Chiwetel Ejiofor) a news anchor, discovers that Eleanor‘s Holocaust story is false.

Despite this shadowy behavior on the part of Eleanor, the story never veers far from sweet convention. Given some shocked sighing and tears, Eleanor is forgiven. A Talented Mrs. Ripley she isn’t.

The real heart of this film is the warm dynamic between Erin Kellyman and June Squibb. The pair is wonderful. Each role is engaging buoyant and authentic.

Squibb can single-handedly be counted on for delivering her charming, curmudgeonly takedowns and the actor has perfected the art. However, the film at times seems a mere setting for Squibb’s startling zingers.

There are fine moments here too. Squibb finely portrays the grouchy child within Eleanor in a display that is raw, genuine, and sincere. Her illustration of this bold senior who is full of codependence and loss is punk rock in its fearlessness. The harmony between Eleanor and Nina almost reaches the quirk of “Harold and Maude” (1971).

Some will pine for more shadow and subversiveness with seniority, but for those wanting more delight with their helping of deception, this easeful film sprinkled with Squibb’s salty insults will fill the appetite for generational friendships.

Write Ian at ianfree11@yahoo.com