Forty-six years after the groundbreaking arrival of baby Brown, it’s truly astonishing to reflect on the transformative nature of this procedure. The significance of Joy cannot be overstated, especially in light of the current landscape where right-wing movements in the U.S. are intensifying efforts to restrict women’s health care options, including access to in vitro fertilization. This alarming trend is only poised to escalate with the potential re-election of Donald Trump as President.
Joy commences with Purdy (Thomasin McKenzie) managing the underfunded and often misunderstood mammalian embryo research initiatives led by Dr. Edwards (James Norton). However, funding from the Medical Research Council remains elusive, and Edwards’s unrefined, blunt demeanor complicates their efforts to gain the credibility they desperately need. As Purdy, who showcases both intelligence and tact, manages to engage the team’s prickly third member, Dr. Steptoe (Bill Nighy, in remarkable form), they edge closer to their groundbreaking success. (Pictured below: Bill Nighy)
While director Ben Taylor and screenwriter Jack Thorne consciously opt for a measured portrayal of laboratory victories, they also enrich the film’s initial segments with visually engaging snapshots of Purdy cycling through the picturesque landscapes of Cambridge University, complemented by lively pop music that enhances the narrative’s uplifting tone.
However, a dramatic showdown at a medical conference starkly underscores the rigid scientific conservatism and entrenched misogyny that these pioneering individuals confront. Established doctors advocate for a ghastly-sounding gynecological procedure, while Steptoe passionately defends the benefits of laparoscopy, a method renowned for its minimal invasiveness. “You’re poking around in the unknown,” snorts a veteran doctor, discussing female anatomy with a bewildering degree of detachment.
In their quest to recruit women willing to participate in their revolutionary research, the trio grapples with allegations of dehumanizing these volunteers—critics likening them to “cattle.” (It is worth noting that though an astonishing 13 million individuals have been born through IVF, the initial success rate following Louise Brown’s birth was distressingly below 10 percent). Purdy quickly fosters relationships with the women, who have affectionately named themselves “The Ovum Club,” engaging in social outings and revealing her personal struggle with endometriosis, a condition that prevents her from ever bearing a child.
On a personal level, Purdy’s groundbreaking work creates friction with her devout Christian beliefs as well as her staunchly religious mother (Joanna Scanlan), who harshly labels her a sinner. As the public face of their research, Edwards finds himself navigating waves of religious backlash and sensational tabloid headlines that caricature him as a modern-day Dr. Frankenstein. Intriguingly, one of IVF’s most notable opponents turned out to be Dr. James Watson, famous for co-discovering the molecular structure of DNA.
Strangely, despite her crucial role, the team fails to position Purdy as a prominent spokesperson for the revolutionary procedure. “As women, we presume we can have children,” Purdy candidly shares with her colleagues. “It’s a biological and social expectation.” She passionately contends that even the slim prospect of achieving a pregnancy through scientific innovation is preferable to the void of no chance at all. Years hence, Edwards advocates for official recognition of Purdy’s profound contributions to their groundbreaking work.
Through its nuanced depiction of collaboration and perseverance, Joy serves as an emotionally resonant call to rectify the historical oversight of Purdy’s significant contributions. Tragically, and scandalously, Purdy’s invaluable input to science was cut short too soon. The real Jean Purdy succumbed to cancer at the tender age of 39, and the condition she battled throughout her life, endometriosis, remains without a cure.
What are the key themes that *Joy* explores regarding women’s health and reproductive rights?
**Interview with Director Ben Taylor: Exploring the Significance of *Joy***
**Editor**: Welcome, Ben! It’s great to have you. Your new film, *Joy*, dives deep into the complexities surrounding the early days of in vitro fertilization (IVF) and the struggles of its pioneers. Can you share what inspired you to tell this story now, especially in the context of current issues surrounding women’s health care?
**Ben Taylor**: Thank you for having me! The inspiration came from both the groundbreaking nature of the IVF procedure and the alarming modern-day challenges women face regarding reproductive rights. It’s important to reflect on how far we’ve come since Louise Brown’s birth but also recognize that the fight for women’s health care is far from over. With right-wing movements pushing to limit access to reproductive options, including IVF, I felt compelled to tell this story to highlight the bravery of those who paved the way for these medical advancements.
**Editor**: The characters in *Joy* navigate not only scientific hurdles but also deep-rooted societal attitudes. Can you elaborate on how you portrayed these themes in the film?
**Ben Taylor**: Absolutely! I wanted to ensure that the film captures both the scientific challenges and the cultural biases of the time. We portrayed characters like Purdy, played by Thomasin McKenzie, as intelligent and tactful yet faced with the misogyny and skepticism from established medical authorities. The dramatic showdown at the medical conference really emphasizes those conflicts—showing how ingrained views can hinder progress. This mirrors some of the conversations happening today, making it even more relevant.
**Editor**: The film features beautiful scenes of Purdy cycling through Cambridge, contrasted with intense medical debates. What was your approach in balancing these moments to convey the narrative’s uplifting tone?
**Ben Taylor**: I wanted to create a visual journey that mirrors Purdy’s own personal journey. The cycling scenes are meant to evoke freedom and possibility, which contrasts sharply with the tension in the medical settings. The lively pop music serves to uplift the narrative, pulling the audience into Purdy’s hopeful outlook despite the harsh realities she faces. It’s about celebrating both the progress made and the ongoing struggles.
**Editor**: The film touches on ethical concerns as well, particularly regarding the treatment of women involved in research. How did you navigate this topic in your storytelling?
**Ben Taylor**: That was a critical aspect for us. We wanted to acknowledge the criticism the pioneers faced without detracting from their groundbreaking work. The comments about likening women to “cattle” reflect a historical truth but also serve as a reminder of the need for ethical integrity in medical research. It’s an invitation for dialogue about how far we’ve come and how much further we have to go to ensure women feel valued and respected in these processes.
**Editor**: With the backdrop of potential political changes in the U.S., what do you hope audiences take away from *Joy*?
**Ben Taylor**: I hope viewers leave inspired and informed. The fight for reproductive rights continues, and it’s important to recognize the sacrifices made by those before us. *Joy* serves as both a celebration of progress and a call to action to protect those rights in our current landscape. Let’s keep having these discussions and ensure we support women’s health care options moving forward.
**Editor**: Thank you for your insights, Ben! We’re looking forward to seeing how *Joy* resonates with audiences.
**Ben Taylor**: Thank you! It’s been a pleasure discussing the film with you.
