It is a unique feeling, at the same time more conquered by the film and finally disappointed by the film. However, cinema, even when it depresses us as much as it uplifts us, is often beautiful precisely because of the emotional sensations it creates. As for Netflix’s “Joy,” it’s a solid but fairly standard take on what’s far from a normal moment in a still-important story. Not to be confused with Jennifer Lawrence’s memorable 2015 film of the same name, this heartfelt historical drama is about the creation of the first in vitro fertilization (IVF) baby, the years of research that went into their achievements, and their lives. who work tirelessly to make such treatment possible. Unfortunately, this is also timely work, as bodily autonomy and reproductive options, including IVF, once again face an uncertain future.
Those who fight in “Alegría”. There is a real British trio of Jean Purdy, Robert Edwards and Patrick Steptoe who we see working in a small laboratory in the 1960s and 1970s on how IVF is done. His story certainly deserves to be told and for that reason, this film offers enough entertainment. It is extremely enjoyable as it aims to ensure that painful elements of history, science, sexism, intolerance and motherhood are put aside and potentially deeper truths are resolved in search of something closer to pleasing the crew. It’s a neat trick, and with letters that work as well as these, you’re good to go.
At the center of what makes this job work is Purdy, played by a slightly understated but still very formidable Thomasin McKenzie from the recent film Eileen, whose passion for the job and concern for women permeates everything throughout the film, as well as the investigation itself. fall apart completely. But, in addition to having a personal connection to the outcome of her research, this comes at a cost, as it distances her from her family and church, who view her profession as ungodly.
Meanwhile, Edwards, played with almost childlike glee by James Norton from this year’s Bob Marley: One Love, is first introduced in a chase with a mouse who tells you what you know about him. We see the occasional challenge, but he mostly serves as a balance toy for Purdy. Then there’s Patrick, played by the always-great Bill Nighy, last heard in this year’s hilarious “Wild Robot,” a strange OB-GYN who’s convincingly responsive but also part of an investigation that will shape his entire life. legacy
Although it is a very heavy subject, it is treated with a light touch and therefore “Joy” feels a little fleeting, as if it could slip through your fingers without you realizing it. Directed by Ben Taylor, a television director who previously directed episodes of the award-winning series Sex Education, the whole thing feels like a made-for-TV movie. His heart is in the right place, but he refuses to take anything that seems like a risk. Since these are characters who have essentially taken every risk possible and done so despite many obstacles, this creates a disconnect that “Happiness” can never escape. A bold story deserves a bold film, but this is not something it delivers on.
Even when the characters face constant scrutiny, lack of resources, unethical press, and scattered interpersonal conflicts, you never doubt that everything will be okay. Some moments outside the lab are unexpectedly profound as they linger in them, but they don’t leave a mark in the same way as they do inside when they need to.
It all depends on how writer Jack Thorne, who previously scripted the sequel Enola Holmes 2, insists on keeping the story emotionally safe. There are many painful questions that the film keeps at arm’s length, limiting the conversations between Purdy and his patients, strangely, to quick chats that pass too quickly. We rarely feel like we understand who these other characters are or where they come from, except for a brief moment that makes them very one-dimensional characters. That “Ovum Club” as the women who undergo the tests call themselves is replaced without much effect is a sign of how little the film invests in texts outside of the main trio. Even Tanya Moody, a standout actress who recently stole the show during Silo’s second season, finds her grace and gravitas underutilized.
While other recent British historical dramas, such as this year’s broader and more complex Blitz, can feel like they’re taking on several films at once, Joy doesn’t even care which film it’s taken on, it hesitates. It moves at a quick pace and methodically makes its way through what appears to be a cinematic narrative via clockwork, making sure everything arrives exactly when you expect it and, unfortunately, it doesn’t spend as much time in the mind. Everything is polite, if it is strictly directed and written. You will most likely laugh and be on the verge of laughing whenever you want, although when you look back you will wonder what it was all about.
This is a film that manages to attract a wide audience and relies on its impressive cast to elevate it. If McKenzie and Nighy weren’t great at all, there’s a good chance “Joy” wouldn’t be worth anything. Fortunately, just like the numbers they play, they continue to move forward and eventually find new life where there would otherwise be none.
Thank you for joining us today, Gabrielle and Michael, for this insightful interview about the film “Alegría”. Gabrielle, as an experienced film critic, what are your initial thoughts and reactions to “Alegría”? Could you please share your perspective on how well the film portrays the complexities of the historic research done by Jean Purdy, Robert Edwards, and Patrick Steptoe in relation to IVF treatment?
Michael, as someone who has studied the medical advancements in reproductive technology, how do you feel about the accuracy of the film in depicting the challenges and victories faced by these pioneers during their research? Additionally, considering the contemporary debate surrounding reproductive rights and choices, what do you think is the significance of this film today?
