Review of Joy (2015) by Mark W — 11 Jan 2016

After Silver Linings Playbook and American Hustle, David O. Russell had established himself as somewhat of an Oscar recorded breaker. Not only were these two films nominated - back-to-back - for Best Picture, Actor, Actress, Screenplay and Supporting Actor/Actress roles, they happened to be first time in the Academy's history that this was ever achieved. You could say that the pressure was on for O. Russell and his trio of actors in Lawrence, Cooper and DeNiro to make it a hat-trick. Sadly, this time around, it appears that the pressure was too much.

For as long as she can remember, Joy Mangano (Jennifer Lawrence) has always had ideas. Ideas that will one day propel her into a life of success. Spurred on by her grandmother (Diane Ladd), Joy refuses to accept her working-class lifestyle and longs for the day where she can break. That day comes with an invention that grabs the attention of businessman, Neil Walker (Bradley Cooper).

I suppose we really should start with the positives of Joy as those positives are on display as the film begins. O. Russell has the same panache and exuberant style that his aforementioned, Oscar nominated films had. It's playful, snappy and hyper-stylised. In fact, the introduction to the characters is so good that it certainly looks like O. Russell and his strong cast are on to another winner. However, what starts as a film about women's empowerment (which it clearly states from it's opening credits by informing us that this is a film about one strong woman in particular) is an audacity that certainly doesn't hold up throughout it's duration. I even wonder if O. Russell actually believed this to begin with.

There's a glaring problem that lies with this film about a "strong woman" and that problem is domestication. Joy invents a mop; one of many household implements that has kept women in their domestic place for generations. Not only that, Joy can't make her "miracle mop" a successful business venture unless a man gives it the thumbs-up. It could be argued that this is still a film where the female overcomes the adversity of a male dominated society and that the protagonist is still calling the shots. However, once you scrutinise and start picking at the threads of this shoddily knitted yarn, you realise that it's still inherently the male that wears the trousers and rather than empower women, it's a pathetic depiction that only adds further insult.

O. Russell doesn't even manage to subtly suggest the course of events. He shoehorn's them in. He manipulates the audience to embrace this rags to riches tale.

There's a moment in the film where it introduces the beginning of Joy's success through home-shopping channels like QVC. It was around this point that I started to question the film's motives. I thought that O. Russell might be taking this opportunity to expose the facade and falseness of such salesmanship endeavours but he didn't. He embraced it. And the film failed to recover as result. I couldn't believe that after such a strong start that this was the path it had chosen.

There's a patronising nature to this film that further fuels the argument of how few strong roles are available for women in Hollywood. That said, I have to give Lawrence her due, she looks committed and delivers another strong performance but her work is lost in a formulaic narrative and Hollywood manipulation. With Winter's Bone and The Hunger Games franchise, Lawrence has somewhat put herself in the position of spearheading the strong female characters in American cinema but this is a seriously misjudged choice and I can only fault her misguided trust in O. Russell for this.

The supporting cast come off even worse. They are mere ciphers that ultimately serve no purpose but to move the plot along; Ramirez, as the ex-husband, is a wet blanket that lingers around in the background and although he seemingly shows support for Joy he's still led by the hand. DeNiro is the doting father but somehow must always take responsibly for his daughters failings - thereby suggesting that her achievements are also in part due to him? His character features prominently in the early part of the film only to fall into obscurity in the latter half while Rossellini as his new wife is seen as the wicked stepmother who's only interest in Joy is a financial one. Cooper has little to do but take credit for any of Joy's success and Virginia Madsen is the no-use mother who lies in bed all day watching soap-opera's. The only redeeming supporting character is Diane Ladd's caring and supportive grandmother. Her advice is a constant source of inspiration for Joy but as a stand-alone character she hardly makes an impact.

All of these characters are lost in a muddled script where plot developments are lazily and insultingly handled. One scene, in particular, has Joy meeting with two stereotypical, cocksure businessmen who dismiss her concerns. She then asks to use the bathroom. And guess what? Yep, the bathroom has a (very convenient) secret doorway that leads to the warehouse where her patented product is being manufactured in a way that goes against her whole idea and design. She hits rock bottom. Takes a pair of scissors to her hair to signify empowerment and before we know it, she's fighting back. This is her invention, dammit, and every domesticated little wifey shall have one. It's pitiful.

The title would suggest that this is a heartfelt film - full of Joy - but that's ultimately what it lacks. During times of austerity, it's intentions are dubious by insensitively portraying money as a means of success and happiness and only by conquering the capitalist system will all your problems be solved.

Quick! Someone grab a mop. I think David O. Russell has just emptied his arse all over the place.

Mark Walker.