Review: Hello, My Name is Doris
The title is an introduction and, indeed, Doris (Sally Field) is beginning her life anew after being on pause for so many decades. Though the filmmakers never quite get a handle on the story they want to tell, Field's highly endearing and touching performance makes Hello, My Name is Doris a very satisfying watch.
Sixtysomething Doris has spent most of her life caring for her mother in their Hoarders-worthy Staten Island home. When her mother dies, Doris isn't quite sure what to do, though she is certain that she doesn't want to get rid of all the clutter and sell the home as her brother (Stephen Root) and his abrasive wife (Wendi McLendon-Covey) wish her to do. Nevertheless, she begrudgingly agrees to see a therapist (Elizabeth Reaser), who specialises in treating hoarders.
In the meantime, her professional life as a longtime accounting drone is enlivened by an encounter in an elevator with John Fremont (Max Greenfield), who turns out to be her company's new art director. His friendly and open manner stokes her romantic fantasies - many of the film's best comic moments derive from Field's priceless expressions as she's one second away from snapping back into reality - and Doris, emboldened by the words of a motivational speaker (Peter Gallagher), determines to win John's attention.
With the help of her best friend's 13-year-old granddaughter (Isabella Acres), Doris formulates her strategy which involves stalking John on Facebook under the cover of a fake identity, studying up on his interests, and arranging a chance encounter during a gig by his favourite electronica band. The young man appears charmed by her kookiness and enthusiasm and spends more and more time with her, misleading Doris into believing the attraction is mutual. Her mental instability, already a cause for concern for her friends and relatives, is bound to be tested for all signs point to a not so happy ending, at least not romantically.
As written by Laura Terruso and director Michael Showalter, Doris is a character that could easily be a caricature. At times, the filmmakers invite viewers to embrace her exploits; at others, they seem to want audiences to pity her. It doesn't help the cause to quirk her up even more with the sort of frumpy chic wardrobe that renders her a cross between Amélie's title character and Grey Gardens' Edith Beale. Then there are the extraneous narrative threads - the hoarding, Doris sabotaging John's relationship with his more age-appropriate girlfriend (Beth Behrs), etc. - which are distractions that push the story into sitcom territory.
The fast is there's enough richness in its core story that there's no need to dress it up. And when one has an actress of Field's caliber, all one has to do is turn on the camera and get out of her way. Field is such an unalloyed delight as Doris, brimming with such exuberance and navigating from the ridiculous to the sublime with an almost impossible deftness of touch.
Hello, My Name is Doris
Directed by: Michael Showalter
Written by: Michael Showalter, Laura Terruso
Starring: Sally Field, Max Greenfield, Beth Behrs, Wendi McLendon-Covey, Stephen Root, Elizabeth Reaser, Tyne Daly, Isabella Acres, Natasha Lyonne, Kyle Mooney, Kumail Nanjiani, Peter Gallagher
