![]() This is all a part of the Jane collective’s story, also depicted this year in the documentary “The Janes,” streaming on HBO Max. ![]() She starts by comforting them during the procedure, eventually assisting the doctor, before finally demanding he teach her how to perform abortions herself. Despite her demure exterior, Joy quietly slides in sly barbs loaded with double meaning about the unfairness of her position, whether it’s her husband complaining about frozen meatloaf, or a panel of cartoonishly evil white male doctors denying her the right to the “therapeutic termination” of a pregnancy that’s threatening her life.Īfter Joy’s abortion, Virginia recruits her as a volunteer driver, and Joy is drawn to providing care to women in their time of need. She plays Joy as withdrawn and soft-spoken. Banks, working with limited material, delivers a distinctive and stealthily effective performance, using Joy’s inexpressiveness as a character trait. Joy is an opaquely written character, a housewife who is never able to fully express her own wants, needs and desires. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic. ![]() That “Jane” was an alias, an avatar, is part of the problem with “Call Jane,” in which all of the fictionalized characters - Joy Virginia ( Sigourney Weaver), the organizer behind the group Joy’s husband, Will (Chris Messina) her daughter (Grace Edwards) neighbor Lana (Kate Mara) - never feel like real people but indeed, avatars, merely representatives or devices to move the plot along. In “Call Jane,” director Phyllis Nagy (Oscar-nominated screenwriter of “Carol”), working from a script by Hayley Schore and Roshan Sethi, crafts an unconventional biopic, not of any real person but of Jane, the collective. In this group, no one is Jane, but they are all Jane, the generic alias that shields their identities becoming the de facto name for this underground network of women providing abortion care in the years before Roe vs. It’s a question that Chicago housewife Joy ( Elizabeth Banks) repeatedly asks, as she calls a number from a flier, is picked up in a car, blindfolded, driven to a nondescript office where she receives an illegal but safe abortion from an unfeeling doctor (Cory Michael Smith), and then is cared for by an eclectic group of women.
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