Eleanor the Great
Scarlett Johansson’s directorial debut is squarely lost in translation.
A New York state of mind: June Squibb
Photo by Jojo Whilden, Courtesy of Sony Pictures Classics.
Let’s be clear, June Squibb is a national treasure. Squibb has moved from strength to strength throughout a storied career that started on stage in the early 1950s. She made her Broadway debut opposite Ethel Merman in the original production of Gypsy and was first on film in 1990 for Woody Allen in Alice. She received raves in 2013 for her Oscar-nominated turn in Alexander Payne's Nebraska, and now, at 95 years young, she’s gained newfound prominence by landing a string of leading lady roles. Last year, in the month of her namesake, she brought Nostalgia to Inside Out 2 and gave Tom Cruise a run for his money in Josh Margolin’s sparkling Thelma. Squibb is back in sassy Bubbe mode for Scarlett Johansson’s directorial debut, Eleanor the Great.
At 94, Eleanor leaves the Floridian golden girl life she’s made with best friend Bessie (Rita Zohar) behind and moves to Manhattan. Here she’ll have the chance to be an integral part of her daughter and grandson’s life, if they can manage to make the time. After daughter Lisa (Jessica Hect) signs her up for a class at the JCC (Jewish Community Center), Eleanor winds up crashing a Holocaust survivor support group, who mistakenly believe she witnessed the worst of humanity. NYU sophomore Nina (Erin Kellyman) was observing that day and wants to write about Eleanor’s story. As it turns out, Nina just happens to be the daughter of the famous TV reporter (played by Chiwetel Ejiofor) that Eleanor and Bessie went gaga over back in Florida. Eleanor is in a real, heavily coincidental, pickle.
Eleanor the Great wants to be a moving, multi-generational story about Jewish women navigating grief, friendship and family, but too often feels orchestrated. Despite the talent involved, the script offers no favours by working so hard to tell the audience what to feel rather than showing something genuine. When an NYU college classroom bursts into rapturous applause after hearing from a Holocaust survivor, it feels jarringly disingenuous. Awe or empathy makes sense, but applause? The same is true when Eleanor’s oblivious grandson and preoccupied daughter suddenly shift focus, dropping everything to see what she’s up to and thus forwarding the plot.
Every character is somehow framed through grief, but the film hesitates to fully explore its central question: why do we isolate in grief when what we need most is connection? It commits its worst offence by resolving the conflict 90s style — on live TV while characters watch from their various sets. It seems a particularly antiquated narrative choice, given the variety of ways we consume media today. It’s bittersweet to note that Scarlett Johansson initially expressed a desire to direct while observing the late Robert Redford filming The Horse Whisperer. Johansson thoughtfully approaches the story and should be commended for working closely with the USC Shoah Foundation to ensure the authenticity of the Holocaust storyline — she’s even cast real survivors for the support group. Despite its earnestness, a fabulous lead, and flashes of warmth, once you get to know her, Eleanor the Great is just OK.
CHAD KENNERK
Cast: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Rita Zohar, Will Price.
Dir Scarlett Johansson, Pro Scarlett Johansson, Jonathan Lia, Keenan Flynn, Trudie Styler, Celine Rattray, Jessamine Burgum, Kara Durrett, Screenplay Tory Kamen, Ph Hélène Louvart, Pro Des Happy Massee, Ed Harry Jierjian, Music Dustin O'Halloran, Costumes Tom Broecker, Sound Grant Elder.
Pinky Promise/Maven Screen Media/These Pictures-Sony Pictures Classics (US).
98 mins. USA. 2025. US Rel: 26 September 2025. Cert. PG-13 (US).
