(2015) Dramedy (20th Century Fox) Jennifer Lawrence, Bradley Cooper, Robert De Niro, Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Dascha Polanco, Elisabeth Röhm, Susan Lucci, Laura Wright, Maurice Benard, Jimmy Jean-Louis, Ken Howard, Donna Mills, Melissa Rivers, Ray De La Paz, John Enos III, Marianne Leone, Drena De Niro. Directed by David O. Russell
The world isn’t designed so that the little guy achieves success. It is even less designed so that the little gal achieves it.
Joy (Lawrence) is not your ordinary housewife. For one, she is surrounded by a family that seems tailor-made to bring her down. Her father Rudy (De Niro) owns a body shop and after being tossed out on his ass by his girlfriend, moves into the basement of Joy’s house where Joy’s ex-husband Tony (Ramirez), a budding Latin singer, is living. Also in the house is Joy’s mother Terry (Madsen) who has withdrawn from everything, staying in her bedroom and watching her soap operas. Only Joy’s grandmother Mimi (Ladd) – who is narrating – believes in Joy other than maybe her daughter and her son. Also in the mix is Joy’s super-critical and bitter half-sister Peggy (Röhm).
Joy has always had an imagination and a willingness to make things but has been held back by circumstances; she is basically the one who cooks and cleans in her household; she also is the breadwinner, although her Dad helps with the mortgage. Then, after an outing in which she is required to mop a mess of broken glass and ends up cutting her hands when she wrings the mop – regularly – she comes up with an idea for a mop that not only is more absorbent and requires less wringing, but also wrings itself. She calls it the Miracle Mop.
But a good idea requires money to become reality and she is forced to convince her Dad’s new girlfriend Trudy (Rossellini) to invest. Attempting to market and sell the mop on her own turns into dismal failure but it’s okay because that’s what everyone expects out of Joy. Heck, that’s what she expects of herself. But with the unflagging support of her best friend Jackie (Polanco), she takes her product to something new – a home shopping network on cable called QVC and an executive there named Neil Walker (Cooper) and a legend is born, not to mention a whole new way to market and sell new products.
Loosely (make it very loosely) based on the life of the real Miracle Mop inventor Joy Mangano, the movie has a lot of David O. Russell trademarks; a dysfunctional family that seems hell-bent on destroying the dreams of the lead character, resolve in the face of insurmountable odds and an extraordinary performance by Jennifer Lawrence.
Say what you want about Russell (and there are critics who make no secret of the fact that they think him overrated) but he seems to be a muse for Lawrence. Perhaps the most gifted actress of her generation, Lawrence has received most of her Oscar attention (and she’s pretty much a lock for a nomination here after winning the Golden Globe last weekend) in films she has been directed in by Russell, including her win. Some have criticized the film for a variety of reasons, but you can’t fault Lawrence. She has given yet another outstanding performance as Joy, going from a nearly abusive lifestyle that seems bound to keep her down to becoming a wealthy, self-confident self-made entrepreneur whose success is like a protective shield. In the latter part of the movie, there is an almost emotionless feel to Joy who has erected barriers even when expressing warmth to women who were in similar circumstances to herself. I found Lawrence’s range inspiring, and even though her character keeps a lot in, it’s there if you know where to look for it.
In fact, most of the cast does a terrific job here, with De Niro once again showing he can do comedy just as well as anybody, and the trio of Rossellini, Ladd and Madsen all wonderful as older women with at least some sort of quirky characteristics to them although Ladd is more of a traditional grandmother as Hollywood tends to imagine them. Madsen in particular impressed me; she has been to my mind underutilized throughout her career which is a shame; she has given some terrific performances in films like Creator.
Where the movie goes wrong is in a couple of places. For one, the middle third is tough sledding for the viewer as the pace slows to a crawl. The ending is a little bit off-kilter and I left the screening curiously unsatisfied, sort of like craving good Chinese food and eating at Panda Express. One of the complaints I’ve noticed about the film is that most of the characters in the film are really not characters as much as caricatures. I understand the beef; there are actions taken by some of them that for sure don’t feel like things real people would do. However, I think this was a conscious decision by Russell and although at the end of the day I don’t think it worked as well as he envisioned, I understood that this was part of the comic element of the film in which Joy’s family was somewhat ogre-ish, particularly towards her dreams.
I blow hot and cold when it comes to Russell; I think he has an excellent eye for good cinematic material but other than The Fighter there really hasn’t been a film of his that has blown me out of the water. Joy is in many ways the most meh of his movies, neither hot nor cold, good nor bad. It hasn’t lit the box office on fire and quite frankly I’m siding with the moviegoers on this one; it’s certainly one worth seeing on home video but there are plenty of other movies out there in the theaters that I would recommend you see before this one.
REASONS TO GO: Another fine performance by Lawrence. She gets plenty of support from the rest of the cast.
REASONS TO STAY: Lags in the middle. The ending is ludicrous.
FAMILY VALUES: Some rough language.
TRIVIAL PURSUIT: Joy Mangano, one of the main sources for the Joy character, developed the Miracle Mop (as seen on TV) in 1990 – the same year Jennifer Lawrence was born.
CRITICAL MASS: As of 1/12/16: Rotten Tomatoes: 60% positive reviews. Metacritic: 56/100.
COMPARISON SHOPPING: Jobs
FINAL RATING: 6/10