Scarlett Johansson delivers a striking contribution with “Eleanor the Great” by granting June Squibb a role that truly highlights her abilities. The 95-year-old Academy Award–nominated actress, who captivated audiences last year with the action-comedy “Thelma,” infuses the title role with her lively spirit, presenting a performance that is both uproariously funny and profoundly touching.
While the film’s concept might provoke skepticism, Squibb’s portrayal is flawless. Her comedic timing is impeccable, whether she’s facing off with an impolite grocery store employee or issuing a veiled compliment to her onscreen daughter (Jessica Hecht). It embodies the kind of witty humor mastered by tough grandmothers, echoing the essence of “The Golden Girls.”
Beyond the clever quips, Eleanor proves engaging as she refuses to fade into the background. She confronts patronizing strangers — often younger — who regard her as a forgetful elder. She is unafraid to create discomfort while expressing herself, even amid sorrow.
Navigating these situations constitutes the film’s most demanding challenge. Yet through Eleanor’s escapades, “Eleanor the Great” evolves into a beautiful, albeit inconsistent, comedy that explores the complexities of love and loss.
What is the premise of “Eleanor the Great”?
Following a social misstep, 94-year-old Eleanor Morgenstein (Squibb) pretends to be a Holocaust survivor. However, the screenplay by Tory Kamen renders the motivations behind this shocking choice quite compelling. She isn’t after personal benefit — merely a way to commemorate her deceased best friend.
“Eleanor the Great” introduces Eleanor and Bessie (Rita Zohar), lifelong companions who have supported one another through marriages, children, grandchildren, and widowhood, ultimately sharing an apartment in Florida for 11 years. Then, Bessie passes away.
Experiencing loneliness and desiring connection, Eleanor returns to New York City, where her daughter Lisa and grandson Max (Will Price) live. Yet their hectic routines leave her feeling still disconnected. In search of community, she stumbles upon a support group for Holocaust survivors at the Manhattan Jewish Community Center. Though Eleanor wasn’t a survivor, Bessie was. By recounting Bessie’s stories as her own, Eleanor creates a space to honor her friend. This deceit intensifies when a journalism student named Nina (Erin Kellyman) seeks to profile Eleanor. As their relationship deepens, acknowledging that their bond began with a falsehood becomes progressively more challenging — especially with the involvement of Nina’s father, a newscaster named Roger (Chiwetel Ejiofor).
“Eleanor the Great” embraces the beauty of friendship and the significance of mourning.
Longing for Bessie, Eleanor makes unexpected choices to nurture a new friendship with Nina. Sharing her grief — even through Bessie’s narratives — creates a space for Nina to voice her own, as Nina lost her mother merely six months prior. Although their mourning experiences differ, the presence of someone to confide in and weep with significantly impacts both.
Discussing grief, even among close friends, can be difficult, a reality “Eleanor the Great” acknowledges. Friends desire to be supportive, but confronting grief can be intimidating and serves as a reminder of our mortality. Thus, we often shy away, even if it pushes us away from our loved ones.
Grief resembles an ocean, and we all drift toward it. Escaping its reach is impossible. Staying buoyant can be exhausting, often feeling overwhelming.
The Greatest Generation, including Squibb, Eleanor, and Bessie, endured the terrors of World War II. They were urged to persist and move on. I witnessed this in my grandparents, some of whom participated in the war, while others suffered significant losses at home. They constructed barriers around their sorrow, and as I matured, I only glimpsed their grief. I noticed them tremble, suppress it, and endure. Now they are gone, leaving me with an ocean of sorrow for them.
Conversely, Eleanor defies this silence, becoming the confidante Nina needs, and reciprocally, Nina for her. The tears shared in remembrance of their loved ones are challenging. Yet within this heartache, they also honor those individuals, celebrating their unique traits. Profound joy resides in this, which would be forfeited if we shunned the tears.
“Eleanor the Great” serves as a coherent New York City narrative with an unsteady conclusion.
Similar to Mikey Madison in “Anora,” “Eleanor the Great” is a character-centric comedy set in New York City, heavily relying on the resilient lead navigating her environment. Squibb accomplishes this with ease. (Both films also include crucial scenes in Coney Island.) In this role, she not only provides an entertaining and hilariously poignant performance but also immortalizes yet another inspiring, no-nonsense grandmother. She reminded me of my own, which brought tears to my eyes as I miss her. Yet like the women portrayed in this film, reminiscing about the incredible woman I lost is simultaneously painful and pleasurable.
To Johansson’s credit, the film — while transitioning between locations, exploring flash