Scarlett Johansson’s first foray into directing brought her to a story that resonated deeply with her personal history, drawing parallels to her grandmother and her own Jewish heritage.
Her film, ‘Eleanor the Great,’ is a heartwarming buddy comedy. It stars 95-year-old June Squibb as Eleanor, a former New Yorker who moves back in with her daughter after years in Florida. One day, at a community center, Eleanor finds herself in a group for Holocaust survivors and, perhaps impulsively, begins to weave a story as if she were one of them. This captivating narrative catches the ear of Nina, a 26-year-old British journalism student played by Erin Kellyman, sparking an unexpected intergenerational friendship.
June Squibb, recognized for her Oscar-nominated role in Alexander Payne’s ‘Nebraska’ in 2014 and her surprise box-office hit ‘Thelma’ last year, joined the project even before Johansson, drawn in by Tory Kamen’s script. Eleanor, her character, embodies the archetype of a wonderfully opinionated grandmother. She delivers lines like, ‘You cut your hair. I liked it better when it was longer,’ with perfect, spiky charm.
Despite her sharp wit, Eleanor also shows a tender side, particularly towards her best friend, Bessie, portrayed by Israeli actress and actual Holocaust survivor Rita Zohar. For Johansson, a 40-year-old Manhattan native, the film holds a profound personal connection. She discovered in 2017 that a great-uncle and his sons died in the Warsaw ghetto. Collaborating with the USC Shoah Foundation, Johansson made a deliberate choice to cast real-life survivors, allowing their powerful faces and histories to tell an authentic story within the film.
The movie, hitting theaters on September 26th, is a tribute to Johansson’s maternal grandmother, Dorothy Sloan, a teacher who passed away in 2014 at the age of 91. Discussing her grandmother brought an emotional depth to the conversation with the star.
However, the discussion over tea and cookies in a Manhattan hotel was also filled with laughter. Johansson, Squibb, and Kellyman shared insights into their collaborative process, the bonds they formed, and the surprising role of gossip in connecting people across generations. Here are highlights from their conversation.
One of the core themes in the movie is grief and the diverse, often intense ways individuals process it. Was this a topic of discussion among the cast?
ERIN KELLYMAN It came up quite often on set.
SCARLETT JOHANSSON We all face the universal experience of losing loved ones, yet there’s a strong taboo against discussing it openly in our society. I’ve been on both sides – not knowing how to approach someone who’s suffered a loss, and also feeling isolated in my own grief, navigating its stages and the time it takes. It’s incredibly challenging to go through alone, almost impossible. I believe that’s one of the film’s key messages.
JUNE SQUIBB When my husband passed away, my son, who was around 28 or 29, found it incredibly difficult to accept. I was so wrapped up in trying to manage his grief that I didn’t truly express my own outwardly. The film utilizes these profound emotional experiences.
The film deeply showcases a local’s perspective of the city. You even chose to film outside of New York’s ‘golden months.’
JOHANSSON We deliberately filmed in winter for that specific white, overcast light, and to capture the often-unattractive side of New York post-holiday season – that truly bleak period when Christmas trees have been sitting on sidewalks for weeks.
But I believe the connection between Nina and Eleanor is uniquely a New York story. You constantly encounter people, crossing paths whether you intend to or not. It would be a ‘meet-cute’ if their interest was romantic.
June, you started your career on Broadway in ‘Gypsy’ alongside Ethel Merman back in 1959. How long did you call New York home?
SQUIBB Sixty-five years! Is that long enough for you? [Group laughter] We were filming near Riverside Church, and my son attended preschool there. It was wonderful for me to revisit neighborhoods I knew so intimately.
KELLYMAN I’m based in Birmingham, England, but my first visit to New York for this film evoked such a strong, visceral reaction. I don’t think I’ve ever felt this way about a place before. It felt both new and incredibly familiar.
Scarlett, you’ve mentioned that Eleanor reminds you of your grandmother. Could you share a bit about her?
JOHANSSON We were incredibly close. Her apartment served as a sanctuary for me throughout my teenage years. I could stay there as long as I wished. We’d explore all of New York together, which is partly why I know the city’s every nook and cranny so well.
My grandmother was truly cool. We’d venture to the Lower East Side, even when it was considered off-limits, to eat Indian food or whatever. She was passionate about free art programs, so we’d attend concerts in Battery Park and visit NYU Tisch to see young choreographers. She was simply brimming with life. We spent countless hours chatting about everything – the very things Nina and Eleanor discuss: relationships, family dynamics, current events. My grandmother read every newspaper. She was such a wonderful friend. [Johansson tears up.]
June, do you often hear stories about people’s grandmothers?
SQUIBB Oh yes, everyone approaches me saying, ‘Oh, you’re just like my grandmother!’ I take it as a lovely compliment. And I do think as we age, we’re becoming more open to discussing it. People genuinely want to understand what it’s all about.
I’m fortunate to have a grandmother nearing 97, and I believe one of the things that keeps her vibrant is gossip. That kind of social ease, which the movie also touches upon.
JOHANSSON I feel like Eleanor and Nina do a lot of gossiping.
KELLYMAN I feel like June and Erin do a lot of gossiping.
JOHANSSON In one scene we were filming in the temple, they were discussing someone’s unusual plastic surgery. I have so many fantastic outtakes of them talking about botched cosmetic procedures—
KELLYMAN About who has poor implants.
SQUIBB You don’t even need to ask us to talk.
Alright, spill some tea.
SQUIBB Ethel certainly enjoyed her young men!
Erin, what drew you to connect so strongly with June?
KELLYMAN It was pretty immediate. June has so many friends – her social life is better than mine! So she didn’t really need to add another person to her circle. Initially, I thought, ‘I’ll just keep to myself and be respectful.’ But June was like, ‘Come over, let’s have pizza.’ She was so genuinely willing to take me under her wing.
Some of the most moving parts of the film feature real Holocaust survivors. What were those filming days like, and what inspired your decision to include their portraits?
JOHANSSON That’s how I envisioned it. So much of the film revolves around the crucial importance of preserving the memories of these survivors’ stories. And there’s portraiture of all the characters, a recurring visual theme where you witness people in these private, vulnerable moments. I believe it helps create a sense of being allowed into someone’s innermost feelings.
The individuals in the survivors’ group, I don’t think any of them had ever been on a film set before. I wasn’t sure what to expect. And I was astonished by everyone’s patience. They were so delighted to have this new experience, which is quite remarkable, to offer people a fresh experience at that stage of life.
I honestly don’t know what I would have done if I hadn’t been able to find a group of people who could participate, because I could never have cast actors for those roles.
Another central theme explores the contrast between truth and the narratives we construct for ourselves, and the underlying reasons why. Do you believe Eleanor was in the wrong?
SQUIBB I don’t think so. As her character says, it doesn’t harm anyone, and I think it’s essential for her, just as it’s important to her that Bessie has the best bed in the hospital. Bessie, frankly, couldn’t care less.
We were just discussing lying in our work. I’ve always done that. When I was younger, I’d say, ‘Of course I can do that, sure.’ And I couldn’t at all.
KELLYMAN I lied a lot as a child. Not serious, bad lies, but just to make things more interesting. Now, I’m quite transparent; people would easily see through me if I were lying, and that’s worse. I’d rather just tell the truth.
JOHANSSON Yeah, I think you’d be a terrible liar. I, however, think I’m quite good at it.
KELLYMAN That’s terrifying! You can’t tell me that now!
How significant are intergenerational friendships in your own lives?
SQUIBB I have quite a few. Chris Colfer, whom I worked with in ‘Glee,’ and Fred Hechinger, who was in ‘Thelma’ with me, I see them often. I just don’t understand the idea of, ‘what would you even talk about?’ They have things to share with me, things I learn from them. Chris would certainly tell me who’s had bad plastic surgery.
JOHANSSON I truly enjoy working with younger actors, understanding their perspectives, and hoping I can assist them as they navigate their careers. And with my older girlfriends, it’s about addressing my concerns, figuring out how to prepare for seemingly insurmountable challenges on the horizon. It’s incredibly helpful for gaining perspective and appreciating life’s continuous journey.
KELLYMAN My family is enormous – Jamaican and Irish families are huge. There are hundreds of us, and we’re all incredibly close. My granddad is one of my best friends. June, I think you’re probably the first person not from my generation, and not related to me, whom I’ve befriended. It’s going wonderfully so far.
Scarlett, you’ve often spoken about your cast’s dramatic stamina. What insights have you all gained about the importance of endurance in this industry?
SQUIBB You definitely need a lot of it. It’s an industry that always demands a great deal physically.
JOHANSSON Stamina also encompasses that feeling of being on the sidelines, and then suddenly you’re called in – like a pinch-hitter. You’re expected to deliver immediately, without much warm-up. I view stamina as the ability to adapt and pivot at any given moment, a quality both of these actors possess.
SQUIBB I’ve made significant shifts in my career. I never quite realized it at the time – I simply started exploring different paths. I reflect on some of the foolish things I did, but I learned from them. So, I believe you just have to say: ‘Yes, I’m going to do it. And keep at it.’ [Squibb is set to star in the play ‘Marjorie Prime’ on Broadway this fall.]
KELLYMAN As I’m just beginning my career, there are certainly professional highs and lows. Sometimes, I’ve been running purely on ambition and hope. Looking at June, I’m not sure I could maintain that until I’m 95. But it’s profoundly inspirational.