Greetings again from the darkness. Hollywood has long ignored the pushback on its habit of casting younger women as the love interest of older men. In most of those movies, the relationships are treated as normal and expected. In the few movies that turn the tables, a relationship between an older woman and younger man is typically treated as either comedy or scandal … consider Harold and Maude (1971) and Notes on a Scandal (2006). In this latest film, writer/director Michael Showalter (The Baxter) and co-writer Laura Terruso strive to balance heartfelt emotions with situational laughs.
Sally Field returns to leading lady status as Doris, a never-married frumpy accountant in her late 60’s who has been living in her childhood home whilst caring for her ailing mother … hoarding everything from magazines to packaged food seasoning to a single water ski. The film begins with the open casket funeral of Doris’ mom, and we see her brother (Stephen Root) and his obnoxious and rude wife (Wendi McLendon) immediately pounce on Doris to clear out the clutter and sell the house. They even set her up with a hoarder specialist/therapist (Elizabeth Reaser) who finds the case quite challenging.
The real fun in the movie begins with a close encounter in the office elevator, when Doris and her cat-eye glasses come face to face with a handsome and charming young man who offers up a compliment – something Doris rarely experiences. Of course, a few minutes later, we learn the young man is John (Max Greenfield, “New Girl”), the new artistic director in Doris’ office. For years, Doris has depended upon cheesy romance novels to supply the fantasy in her life, and now the lessons from that reading kick into full gear.
It’s a night out with her best friend Roz (Tyne Daly) that results in a chance interaction with a cocky motivational speaker (Peter Gallagher) whose catchphrase is “Every week has seven days. None of them are named Someday”. He leaves Doris with this thought: “Impossible means I’m possible”. When combined with those romance novels, Doris now sees a realistic chance for love if she pursues the man of her dreams … the aforementioned (and half her age) John.
With the help of Roz’ teenage granddaughter (Isabella Acres), Doris learns how to Facebook stalk, and soon enough ends up at a concert with John’s favorite techno band, Baby Goya and Nuclear Winters (led by Jack Antonoff of Fun.). John and his group of hipster friends are enamored with Doris’ vintage clothes and quirky sense of style and speech. She soon finds herself posing in spandex for Baby Goya’s album cover, going to dinner parties, and joining a rooftop knitting group of millennials.
Judging by the boisterous laughing by women in the theatre, this is a prime GNO flick for women of all ages. Most of the comedic situations seemed pretty obvious and predictable, and I found some traits of Doris to be less than appealing. However, as a statement on what happens when the outside world passes by, and generational gaps become almost impossible to bridge, the film makes a bold statement on real friendship between mature women. It poses the question, what determines whether a personal awakening is real or imagined?
Sally Field (turning 70 in 2016) gives a terrific performance, and it goes much deeper than someone who puts her reading glasses on top of her regular glasses and wears giant bows in her giant hairpiece. Ms. Field has excelled in such previous work as “Sybil” (1975), Norma Rae (1978), Places in the Heart (1983), and Lincoln (2011). She understands comedy and human drama, and as Doris … you’ll kind of like her. You’ll really kind of like her!