In his latest film, Joy, director Ben Taylor grapples with the challenge of transforming the intricate world of scientific innovation into compelling drama. This retelling of the development of in vitro fertilization (IVF) succeeds more as a human story than as a scientific narrative. Its relevance is underscored by ongoing political battles over reproductive rights, including recent attempts by Senate Republicans to obstruct a bill that would safeguard IVF access. While the film is unlikely to attract anti-choice extremists, it boasts a strong cast and topical themes that should resonate with viewers on Netflix.
While the production feels cinematic, it often carries the tone of a dated television drama, largely due to Jack Thorne’s formulaic screenplay. Drawing on the style of British historical dramas like The Imitation Game, Thorne outlines a groundbreaking medical journey in the 20th century that brought hope to countless women struggling with infertility. However, the film’s familiar inspirational format creates a somewhat stilted rhythm that mirrors the halting progress of its fertility pioneers.
The narrative centers on Jean Purdy (Thomasin McKenzie), a nurse who becomes a pivotal embryologist, as she begins her role as lab manager in the Department of Physiology at Cambridge, working under Robert Edwards (James Norton). After making initial progress in studying human fertilization in the late 1960s, they seek the help of Patrick Steptoe (Bill Nighy), a gynecologist considered a pariah by the medical community for advocating laparoscopic techniques.
Initially skeptical and grumpy, Patrick gradually warms to Jean and Bob’s vision, driven by their passionate belief in the importance of their work. They set up their research in a neglected wing of Oldham General Hospital, despite Patrick’s warning that they will face opposition from the Church, the state, and society at large. Bob’s retort, “But we’ll have the mothers,” sets the stage for their collaborative efforts.
As their work progresses, the dynamic between Jean, Bob, and Patrick evolves into a harmonious professional relationship. The film shifts its focus primarily onto Jean, whose personal connection to the subject becomes increasingly evident. A devout Christian, she experiences a rift with her mother, Gladys (Joanna Scanlan), when she refuses to abandon her controversial research. Complications arise further when her relationship with her colleague Arun (Rish Shah) deepens, and he expresses a desire to start a family.
One of the film’s highlights is Jean’s interactions with the diverse group of women participating in their IVF experiment. Initially clinical and detached in her approach, Jean gradually learns to engage with them more personally, transforming her demeanor as she navigates their shared hopes and challenges. Thorne’s script effectively conveys compassion for the many women yearning for motherhood, grounding the drama in their emotional realities.
A poignant moment arises when the Medical Research Council refuses funding for the project, arguing that infertility affects only a small segment of the population. This scene encapsulates the team’s frustration as they strive to shift societal perceptions of infertility as a treatable condition.
Despite its compelling themes, the film occasionally falls into a repetitive pattern of progress followed by setbacks. Jean’s estrangement from her colleagues following personal loss serves as a catalyst for her eventual return to the project, leading to the much-anticipated success of the first “test-tube baby” in 1978.
The film culminates with a sense of suspense and emotional weight, amplified by an epilogue that reveals the profound impact of IVF—over 12 million babies born since the technique was developed. The narrative is framed by Bob’s voiceover letter advocating for Jean’s recognition as a key contributor to their groundbreaking work, a poignant acknowledgment of the gender biases that have historically overshadowed her contributions.
However, the screenplay falls short in fully exploring the public backlash faced by the research team. The brief appearances of protesters and negative media coverage do little to establish a substantial sense of opposition to their work.
While Taylor, known for his work in television, manages to present a visually engaging film, the storytelling feels uneven. The film leans heavily on Steven Price’s dramatic score and a selection of period music, with only Nina Simone’s cover of “Here Comes the Sun” feeling thematically relevant.
Fortunately, the cast elevates the material, with McKenzie delivering a nuanced performance as Jean, contrasting her timid voice with a tenacious spirit. Nighy offers a subtle portrayal of Patrick, balancing formality with warmth, while Norton imbues Bob with sincerity and charm. Supporting performances by Scanlan and Moodie add depth, even if some dialogue leans towards preachiness.
While Joy may not redefine cinematic storytelling, it sheds light on a significant chapter in medical history that deserves recognition. The film’s heartfelt narrative will resonate with parents whose lives have been transformed by the dedication and innovation that led to the IVF breakthrough.
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