James L. Brooks Returns with Bittersweet “Ella McCay,” a Nostalgic Screwball Melodrama
Table of Contents
A lingering sense of wistfulness permeates “Ella McCay,” the new film from writer/director James L. Brooks, marking his first directorial effort in 15 years. Despite a mixed initial reception and becoming a focal point of online commentary, the film’s commitment to a classic, old-fashioned style in a contemporary landscape offers a compelling, if unconventional, cinematic experience.
A Return to Form After a 15-Year Hiatus
Brooks, known for stone-cold classics like “Broadcast News” and “As Good as It Gets,” as well as the more uneven “Spanglish,” has remained active as a producer during his time away from directing, contributing to projects like “The Edge of Seventeen” and the long-running animated series “The Simpsons.” However, his return to the director’s chair is a significant event, and “Ella McCay” is already sparking debate. According to one observer, the film has become “Film Twitter’s meme-friendly punching bag” during the busy holiday release season.
Embracing the Arch and the Earnest
Despite the online scrutiny, the film’s dedication to screwball melodrama feels both commendable and brave. “Ella McCay,” both the movie and its titular character, present an intriguing juxtaposition, a dynamic Brooks appears to both understand and embrace. The film establishes its unique tone immediately, narrated by Ella’s friend and secretary, Estelle (Julie Kavner), who freely breaks the fourth wall to recount Ella’s life story, focusing particularly on the year 2008 when Ella’s mentor, Governor Bill (Albert Brooks), is appointed to the Obama administration and subsequently appoints her as governor.
Emma Mackey portrays Ella with a blend of “screwball pluck and heart,” and the character’s idealism feels particularly resonant coming from a younger actress portraying a woman in her mid-30s. Brooks’ approach to Ella echoes his portrayal of Lisa Simpson – a character possessing the intelligence and drive to effect change, hampered only by societal obstacles.
A Deliberate Departure from Realism
“Ella McCay” exists within its own stylized reality, where realism is secondary to the overall aesthetic. This deliberate choice, while potentially interpreted as a decline in Brooks’ touch, feels remarkably consistent throughout the film. Every actor, including Jamie Lee Curtis as Aunt Helen, Spike Fearn as Ella’s brother, and Ayo Edebiri as his ex-girlfriend, delivers dialogue that is intentionally stylized, almost undoing decades of Method acting. This approach, while initially jarring, ultimately proves to be “delightfully, hilariously arch.”
Echoes of Cinematic History
The film’s earnestness evokes comparisons to classic “feel good Oscar bait” movies, with its soap opera-esque plotlines revolving around Ella’s relationship with her high school sweetheart, Ryan (Jack Lowden), and her complicated relationship with her philandering father, Eddie (Woody Harrelson). However, like Brooks’ 1983 film “Terms of Endearment,” “Ella McCay” offers more than surface-level dramedy. The film’s visual style, crafted by cinematographer Robert Elswit, evokes a “winter warmth” reminiscent of East Coast cities, perfectly complementing the story’s fairy-tale quality. Notably, the script intentionally avoids specifying the state Ella governs, further enhancing the film’s fantastical atmosphere.
The film’s tone most closely aligns with the earnestness of Frank Capra’s work, particularly “Mr. Smith Goes to Washington” and “Mr. Deeds Goes to Town,” sharing a genuine affection for its idealistic protagonist. A lightly sardonic portrayal of small-town life also draws parallels to Robert Benton’s “Nobody’s Fool.” These types of films are largely out of fashion today, but Brooks appears either unaware or unconcerned.
Subtext and a Lament for Lost Hope
The film’s most intriguing quality lies in its subtext. While Brooks’ stylistic choices could be attributed to habit, they suggest a deeper commentary. The film’s fable of a woman striving for fulfillment, despite facing bureaucratic and societal barriers, hints at a lament for a time when hope in the country felt more attainable. While Brooks is not one to deliver scathing critiques of America, like Martin Scorsese, nor is he a revisionist historian like Robert Zemeckis, “Ella McCay” openly questions whether faith in the political system has become outdated.
The characters’ heightened mannerisms, while unrealistic, are presented in a way that feels strangely desirable. “Ella McCay” makes a passionate argument for this approach, suggesting that perhaps not everything from the past should be discarded.
/Film Rating: 7 out of 10
“Ella McCay” is in theaters everywhere December 12, 2025.