The most surprising thing about Michael Showalter’s Hello, My Name is Doris is how thematically dense it proves to be. The comedy about one woman’s misguided attraction towards a much younger man also touches upon issues of abandonment, loneliness, loss of identity and, ultimately, self-awareness. That these disparate elements manage to come off as sincerely as they do is thanks to the spare but effective script by Showalter and Laura Terruso, whose short film this feature is based on, and the marvelous work by screen veteran Sally Field, who, in the title role, does some of the best work of her career.
Doris Miller has never had a life of her own. So much time has passed since she decided to stay at home and take care of her mother that she’s forgotten that she could have perhaps had a career or a marriage. But now that her mother has passed away, she finds herself a bit adrift, so much so that she begins fantasizing about John (Max Greenfield), a young new production designer at the ad agency where she works. After attending a selfhelp seminar (executed with a nice satirical tone), Doris convinces herself that not only does she deserve to be happy but that she’s capable of winning John’s heart.
The odyssey Doris embarks on is one that will take her far out of her comfort zone. She soon finds herself feigning interest in electronic music, attending late-night concerts and dressing with a bit of flash, all to get John’s attention. The result is predictable as messages become mixed and intentions are misconstrued, all of which leads to a confrontation that can only end in embarrassment for all parties involved.
However, what proves refreshing about the movie is the journey of self-discovery Doris finds herself on. While she runs the risk of losing her best friend Roz (Tyne Daly), she learns to branch out, coming out of her thick, self-imposed shell to discover that she still has time to realize some of her dreams. Many grains have run through the hourglass where Doris is concerned, but there’s still enough left so that she might finally realize who she is.
Credit Showalter for being able to execute each scene in the film with a sense of emotional honesty, be it dramatic or comedic in nature. Whether Doris is finding her groove while dancing to techno music, fiercely defending her home or realizing she must undergo a significant change in her habits, each moment rings true, all suffused with a sincerity that runs throughout the film, leading to a poignant climax that hardly feels forced.
In the end, whether the film succeeds or not rests on Field’s shoulders and she’s more than capable of carrying this load. In lesser hands, Doris might come off as desperate and foolish but the actress manages to sidestep the many pitfalls inherent to the role. Field convincingly takes Doris from timid to assured and along the way beautifully realizes moments of elation, despair, hope, ferocity and, ultimately, surprise at how far she’s come. Each moment is painfully honest and in the end the actress breaks your heart, not out of pity for all Doris has endured but due to pride for all she’s accomplished. Time has not diminished Field’s still considerable power and in the end, you’ll like her. As for Doris – you’ll really, really like her.
Contact Chuck Koplinski at ckoplinski@usd116.org.
