The Disappearance of Eleanor Rigby: Them Review

“All the lonely people

Where do they all come from

All the lonely people

Where do they all belong?”

Besides a quick lyric delivered by Viola Davis, the Beatle’s classic is never heard in Ned Benson’s impressive debut at Cannes. The film tried to answer John Lennon’s question on its own.

The Disappearance of Eleanor Rigby: Them premiered in Certain Regard as a brand new 123 minute cut of the original 191-minute version, told from ‘Him’ and ‘Her’ perspectives.  Standing 68 minutes lighter, the film had some minor pacing and development issues, but still told an authentic and touching story of a young couple dealing with tragic loss.

We watch the couple’s relationship reel and crumble in classic alternating p.ov.s. from Conor (James MCavoy) and Eleanor (Jessica Chastain), who both deliver moving, yet very different performances. Chastain is nervous and tough, sometimes even irritating, yet broken by life’s missed opportunities and destruction. MCavoy is lovable, emotional and expressive, dealing with things the best way he knows how.

Their reactions to loss are very different; perhaps gender specific, and it seemed to be the catalyst in the marriage’s end. “He went soft and I stayed hard.” A telling line, it examines an interesting gender-role reversal, and I found myself wishing the ‘Them’ version explored it more thoroughly. It only made me want to see the ‘Him’ and ‘Her’ versions more.

The pair’s differences create a palpable energy when they appear on screen together. In joyous, happy scenes and even tension-filled car rides the two were believable and relatable as a couple struggling through the realities of love and heartbreak. The audience, despite blind to the circumstances, seemed to feel the loss with them.

In a particular scene the two sit in the floor of the apartment they used to share and cry in silence; no dialogue was necessary. Their connection felt real and the vulnerability radiated, and MCavoy and Chastain really hooked me then. I remember trying to sum up my feelings after the film and it was adequately captured with one: melancholy. I truly liked the couple, and to watch them pull apart and lose each other was difficult. For a first time director, Benson tells an impressive story that I predict will really hit home for many viewers.

The supporting characters carried their weight as well. As Conor struggles to make ends meet he’s forced to move in with his tortured, former playboy father, (played by a wonderfully witty Ciaran Hinds), the veteran in the New York restaurant scene. Eleanor also heads home to live with her French mother (Isabelle Hupert), who shares that she “never wanted to have children” as she drowns her disappointment at life’s missed opportunities with glasses of wine. Her father (Willliam Hurt) is a college professor and therapist who is sensitive yet has trouble communicating. Her closest relationship is with her sister Katy (Jess Weixler), a librarian with a little boy, who has abandoned other dreams. And there are long scenes with a straight-talking teacher (played by the always impressive Viola Davis) who becomes a confidant. All of these characters are valuable and the dialogue and acting are excellent all around.

As we got to know these characters the film sometimes meandered slowly with lingering solo shots of a silent actor, but it was always visually impressive in an understated way. The smart dialogue compensated for it, too. Benson did well by taking advantage of authentic New York locations, and the set and music choices were sensitive yet purposeful. I was pleasantly surprised to find that in its’ two hours, the film never tried too hard. The soundtrack stood out to me as a strongpoint, and made use of good and bad songs. New York alternative hip-hop composer Son Lux really delivered with a stirring final song that made the last scene of the film truly affecting.

The story these characters tell is worth knowing, and the shorter cut version kept me entertained, yet reaching for more. I wanted to know the how’s and why’s and the intricacies of the relationships we saw on screen, and I suspect the unedited ‘Him’ and ‘Her’ versions adequately provide that for the dedicated viewer. I can’t imagine the greater investment the audience would make into these characters and their lives with more time to thoroughly bring the screenplay to life.  But, editing the length down was a smart business move, as it is a much more conventional and approachable film that will be successful commercially as a romantic, date movie even though its true potential surpasses that archetype.

The Weinstein Company and Myriad Pictures present a Unison Films, Myriad Pictures, Dreambridge production  


Cast: Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciaran Hinds, Isabelle Huppert, William Hurt, Jess Weixler


Director: Ned Benson


Screenwriter: Ned Benson




Producers: Cassandra Kulukundis, Ned Benson, Jessica Chastain, Todd Labarowski, Emanuel Michael



Editor: Kristina Boden





No rating, 123 minutes