David O. Russell writes (or rather rewrites, with Annie Mumolo penning the original script), directs and calls upon Jennifer Lawrence, Bradley Cooper and Robert De Niro, much like he did with ‘Silver Linings Playbook‘ and ‘American Hustle‘, to star in the semi-fictional tale of self-made business magnate and inventor Joy Mangano (played by Lawrence). The film gets off to the worst possible start, with titles dedicating it to strong women in general …. and one in particular. It’s a little condescending, as if David O. Russell had only recently discovered women were actually capable of doing something interesting enough to make a film about, and there are numerous hints of force throughout the film: Joy when she is a child (played by Isabella Crovetti-Cramp) saying she doesn’t need a prince in the fantasy future life she’s playing out, for example – we can see what the intention was of course, but the tone is a little too blatant. Why not simply tell the story?
A story which sells itself entirely – it’s not easy to see where fact and fiction collide here, but it certainly appears on the face of it that the main details are correct and the most important showdowns and moments when the protagonist really has to take the bull by the horns actually did happen. We begin in 1989 with Joy frantically running her household and her father (De Niro) appearing on the doorstep then being promptly thrust into the basement in order to share it with her now divorced husband (Edgar Ramirez), whilst her kids are looked after upstairs, supervised by her grandmother (Diane Ladd), kids that occasionally accompany her mother (Virginia Madsen) who seems to permanently engage with vegetating in front of her favourite soap opera on the tele in her room.
Oddly, we are constantly greeted with scenes from this same show throughout the first chapter of the film, demonstrating the nightmarish pull of the humdrum and banal void as Joy struggles to fit the bill as house matriarch whilst working as an airline reservations manager, but these sections are far too wayward, indulgent, lengthy and frequent and could mostly have been axed, although showing the pervasive sickness that can arise from such garbage on television and the isolating effect it has on families is to be applauded, it nevertheless simply becomes another overplayed element of the movie.
Spiralling out of another chaotic dream about the soap opera, Joy awakens with zest and inspiration for a product that will ignite everyone and everything around her – the Miracle Mop, designed to address the simple everyday practical issues she, and everyone else doing any floor cleaning, were met with every day, namely having to wring out the thing by hand (although surely they had buckets with strainers back then?) and buy a new one all too frequently. Thus begins her adventure as she attempts to produce and market her creation, bringing into the frame two new characters: her father’s new wealthy girlfriend (Isabella Rossellini) and a head executive of the QVC advertising channel (Bradley Cooper).
It’s an inspirational tale that ought to speak volumes to anyone who’s ever tried to create anything themselves and despite the film’s many self-imposed setbacks, including twists and turns that continually have you thinking the movie is over when it’s not, it ultimately delivers thanks in no small measure to another fantastic and Oscar worthy performance from Lawrence herself. A sizeable amount of trimming and a little less force would have ensured this came out of the blocks at the same pace Silver Linings and Hustle did, but in the end the heart of the true story and strong acting all round ultimately atone for its artistic hiccups.