I thought I would have a relaxing Sunday night when I pressed ‘play’ on Joy. Centred on a world-changing scientific discovery, it stars some of Britain’s greatest actors (Bill Nighy fans, assemble), and tells the true story of some of Britain’s most important scientists. Nonetheless, with the sheet mask peeling off my face as the tears came streaming, it became quickly apparent to me how deeply harrowing and relevant Joy is for the times we live in now. Not just for women or for scientists, it is one of the most important films of the year. Here’s why.
Joy – The Birth of IVF tells the story of the invention of in vitro fertilisation (IVF). It stars Bill Nighy, James Norton, and Thomasin McKenzie in its leading roles, and though the film has a predictable happy ending, I was grappled by some of the sub themes — especially those unveiled in the closing sentences.
Joy paints a picture of a historic scientific breakthrough, but also touches on the societal scrutiny that was endured to get there. Through this lens, it explores themes of ethics, religion, and family, as well as the role of the female in the home, and in the workplace. As the credits came on and my sobs found no solace, I realised it was also a story of retribution, and of great relevance right now.
One Nobel prize and 12 million babies born as a result, where does IVF fit into religious understanding, scientific progress, and political agenda today? Our review for Joy paints a picture.
Review: Why Joy will have you bawling, despite the happy ending
A predictable plot, an unpredictable premise
Thomasin McKenzie plays Jean Purdy, a young nurse who works as a lab manager alongside biologist Dr Robert ‘Bob’ Edwards, played by James Norton. Together with obstetrician Dr Patrick Steptoe, played by Bill Nighy, the plot of the film revolves around the discovery and medical establishment of IVF treatment. Underlined multiple times throughout the film, its invention stems from a need to combat infertility in women, but also the deep — often unspoken — human desire for a child.
Spanning over ten years, the journey to the creation of IVF is a tough one, both on a professional and personal level. The trio is denied funding by the Medical Research Council, and have to set up in a dingy space in Oldham, Manchester — a four-hour drive daily for Bob and Jean. Despite their determination, they are ridiculed and heavily criticised in the media, and Jean even gets ex-communicated from her church and family. It is a struggle that puts a halt to the project for some time, as Bob becomes discouraged and looks to other pursuits, Patrick focuses on retirement, and Jean, a devout Christian, searches for moral ground as she battles her own infertility.
Nonetheless, Joy has a happy ending, as the birth of Louise Joy Brown marks the very first of many IVF babies born into the world today. The photo of the three scientists holding the newborn kickstarted the water works for me, even though I knew the birth would be a success. That’s the thing with Joy: there is a lingering, oddly somber tone about the film, as it peels back the layers of what this kind of innovation really means.
Major themes of love, loss, and losing one’s way
Despite knowing the end result, I found myself on edge for most of Joy. I felt the fear, the anxiety, and the frustration with every drop of the pipette. Especially during current times, it is a familiar vulnerability.
Jean’s mother refuses to look at her, until and unless she drops the experiments, even as she lies on her death bed. Bob is nicknamed ‘Dr Frankenstein,’ and likened to a nazi doctor in a live television interview. Nurses face bribery for information, personal relationships fall apart, and some mothers have to come to terms with a sad and solemn fate.
Yes, Joy is about a momentous and historic invention, but it is also sparking debate on how we treat science and scientific advancement. It is causing us to rethink our spiritual or religious standing, and it lifts a mirror to current issues around women’s rights around the globe.
Nonetheless, for Joy, logic and reason (call it science) prevail. As Jean Purdy puts it, “How do you feel about spectacles and false teeth? You’d rather people be blind or unable to eat anything but soup? That’s what God wants, is it?”
Setting, cinematography, and the “aha” moment
There are many other notable quotes in Joy, and often I found myself pointing at the screen in agreement. Against the cold, miserable setting of Oldham hospital (“the decor’s terrible”), and to a soundtrack that underpinned every emotion on the screen, the film manages to evoke a sense of intimacy, until it breaks at the very last frame.
Whether it’s Here Comes the Sun by the Beatles or Yes We Can Can by Lee Dorsey, the film manages to stir emotion at all the right moments. The most impactful, naturally, is the history-changing birth at the very end. For a few minutes, the world feels a much, much brighter place, and the viewer revels in the wonders of science and perseverance, at what feels like the brink of revolution. Nonetheless, as the scenes with McKenzie, Norton, and Nighy came to a close, I completely lost it.
Joy ends with photos of the real-life Jean Purdy, Robert Edwards, and Patrick Steptoe, against the gut-wrenching soundtrack of 500 Miles. Alongside these images, a text explains that Purdy’s name was not included on the plaque commemorating the inventors of IVF, despite her obvious contribution. Edwards petitioned for her name to be included for years, and finally saw this come into fruition in 2015, a mere 9 years ago. Sadly, Purdy had passed away in 1985, at the age of 39, from cancer, and never lived to see this day. The last living member of the trio, Edwards was awarded the Nobel Prize for his work in 2010.
The final slide reads that over 12 million babies have been conceived and born thanks to IVF treatment. Your heart aches for Jean Purdy, who was never properly credited for her work, and her being a woman feels like a second stab to the issue. Still,there is a sense of retribution in the making of this film, and warmly, it opens and closes with Bob’s voice reading a tribute to her. Thus, though Joy is set in the 1960s and 1970s, it still feels highly relevant today.
“We are here to give women a choice. Every choice.”
I did not go into this movie with the intention of writing a review. As mentioned, I played it out of simple curiosity, manoeuvring a wet Korean collagen mask as the opening credits came on. It was meant to be casual Sunday viewing, but I should have known better. Fittingly a feminist quote by Carol Hanisch comes to mind: the personal is political.
Many people involved in the making of Joy have had experience with IVF. Similarly, I watched the film thinking of my own friends and family who have had babies through this process. It echoed even louder when I thought about the threat to our reproductive rights in some countries, and the declining availability of IVF treatment in others. Though the film is a historic dramatisation set almost 60 years ago, it touches on a fragile subject with much feeling, and shows there can be hope and advancement — even if it comes with ample debate. The timing is impeccable, and the urgency is necessary.
Delivered by the brilliant Matron Muriel (Tanya Moodie), there is a quote fromJoy that stayed long with me after finishing the film. It happens to be about abortion, but no matter the year or the circumstance, it is important to repeat it. “We are here to give women choice. Every choice. That’s all that matters to me, and it should be all that matters to you.”
Joy – The birth of IVF was released on 22 November 2024, and is now streaming on Netflix. It is has a run-time of 115 minutes, and is currently rated 7.1/10 on IMDb.
The information in this article is accurate as of the date of publication.
