Directed by David O’Russell
It’s no secret that Jennifer Lawrence and David O’Russell are made for each other. Without batting an eyelid, Lawrence can transform effortlessly from comedy to drama, a method O’Russell’s films always seem to prescribe to. Joy is certainly no exception to the rule, and yet, upon viewing the film there were some discernible differences to his previous films that made it feel like a David O’Russell film, but perhaps without the best parts. Most notably, this is his first film in a while that rests it’s weight predominately on the shoulders of it’s protagonist, rather than an ensemble cast. It also spans over more than two decades, rather than anchoring itself around a single moment or period of time.
It’s a relatively biographical story about Joy Mangano, a woman who exceeded against all odds, which were mostly in the shape of other people. So much of the film’s running time is Joy being constantly put down, slandered, ignored and disrespected from almost all angles. While this may be true to life, and raises the stakes of her journey, I couldn’t help but feel like it created such a black-and-white tone for the whole film, where we could only sympathise with the one character, because the rest were made out to be so awful, bordering on cartoonish. I’m not saying Joy is a bad film by any means – the performances are spot on and it looks stunning the whole way through, but it felt like we were treated to what felt like half of what a David O’Russell film can be: a sweeping, musical world of complex, deeply funny and unpredictable characters that feels more true to life than this biographical film ever did.