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Times of India
Joy is an ode to courageous women, who don't let reality strangle their dreams. They rise like a phoenix against all odds wading through life. They survive the company of their own cynical families if need be, to build a future they aspired to live someday.
Joy (Jennifer Lawrence), a hard-working single mother is an inventor. In an otherwise eccentric broken family, grandmom Mimi is her only source of motivation. Mimi believes in Joy's abilities and vision. She knows that one day the girl will be a successful entrepreneur.
Sadly, the rest of the family ensures she doesn't. They clip her wings, burdening her with their responsibilities. Circumstances push her to the breaking point. However, not the one to give up, she relentlessly chases her dreams, pushes boundaries and becomes who she'd always wanted to.
Joy is the story of every woman, who is expected to look after the emotional and financial needs of her family. She better not chase her dreams as paying the bills are priority. David O. Russell's film is an incredible, rags-to-riches tale that salutes the triumph of unflinching human spirit. As Lawrence rightly pointed out, "He makes movies like he doesn't even care if anyone sees them." His knack of presenting flawed, slice of life characters and telling their tale in the most extraordinary fashion is admirable. You feel for their happiness and sorrows. You identify with their dreams, dilemmas and get inspired by their struggle. His actors don't act. They mirror daily life and twisted families that are strangely most fascinating.
Russell's muse Lawrence, deserves the accolades coming her way. She demonstrates the trials and tribulations of mundane life with utmost honesty. She lives her character. She's real, vulnerable and deeply moving.
Heartbreaking, uplifting, liberating...Joy makes you instill faith in your abilities once again. It has that 'The Pursuit of Happyness' (2006) feel to it.
Joy to the world
Set in the 1990s, Joy is your quintessential period film. The idea that one can make it on their own, without inheritance or spousal support, had suddenly become fashionable. Jeans and divorce had both received a greater social sanction. Other directors might have made obvious their attention to detail, but David O Russell chooses to mute what I can perhaps a little audaciously call production perfection. You never feel the characters are inhabiting a time that is distant from yours. Come to think of it, isn't that what film critics have always referred to as a 'suspension of disbelief'?
Joy, played by Jennifer Lawrence, has spunk. You can see that in the way she looks at her overambitious sister. She chooses to pick up the pieces after their parents' marriage breaks and she shares a warm, altogether modern relationship with her ex-husband. To her two children, especially, Joy is the kind of mother every feminist wants to be. Family, it seems, is not just important to the Indian girl. It more than makes up an American woman. There comes a point, though, when Joy forcefully decides that "she isn't going to be like her family" and that is when we see the film shifts gear. In an instant, the slow burner is brought alive by Lawrence's brilliant ferocity.
The actress has won a Golden Globe for her work in this film and there is every reason she should win that Oscar too. Joy makes a mop that seems to miraculously wring itself, the perfect product for home shopping networks. It really does deserve a patent. It's so American and ever so novel!
The reason why the mop becomes a bridge for Joy to earn her millions is rather simple. She works hard. She is patient, but most importantly, she is humble. Audiences might very well find the film frustrating. Unlike films where the protagonist is played by actors chiselling their masculinity, nothing happens here. At no point do you think Joy's aggression will transform into something violent. No bang here. Just whimpers.
Joy should be a model for filmmakers across the world who struggle with making heroines of their women characters. Jennifer Lawrence doesn't dream to make it on her own. She knows that she cannot. But even if she only has a warped idea of a mop to get her there, actors like Robert De Niro and Bradley Cooper have agreed to do bit parts because they undoubtedly, like all of us, believe that the language of cinema needs to be transformed. Even funny films with male protagonists usually swing between a bliss that can be brooding and a euphoria that can be all-consuming. Jennifer now gives us a very pretty joy.
At one point, a character says to Joy, "You are in a room and there is a gun on the table. The only other person in the room is your adversary in commerce. Do you pick up the gun Joy?" I won't tell you if she'll pick it up or not, but there is great comfort in knowing that Jenny has finally got the gun.
Silver Lining Playbook found a diamond. Joy just sells it.
The original script by Annie Mumolo was a biography on the Italian-American inventor, Joy Mangano who is known for inventions like the self-wringing Miracle Mop and Huggable Hangers. However, when David O Russel came on board as the director, he altered the script to make it a generic account of women changing their live. The alteration was to the effect that apart from the basic plot-line, there was not much resemblance in the actual story of Joy and that of the film. the
The film does not reveal the lead character, Joy’s last name at any point.
Magnano’s first invention, the Miracle Mop was in 1990 which also happens to be the birth year of Jennifer Lawrence.
As shown in the film, Magnano’s ex-husband was not a Venezuelan singer, but a fellow student at the Pace University where Joy studied Business Administration.
Joy’s half sister, Peggy, played by Elisabeth Röhm, is a fictional character.
The working title of the film was earlier revealed to be ‘Kay’s Baptism.’
Jennifer Lawrence's recently released film, 'Joy' was off to a great start with great reviews pouring in from critics and audiences alike. The film, which is loosely based on the life of Italian-American inventor Joy Mangano has definitely struck the right chords. Here's taking a look at what people had to say about the film on Twitter...
Joy feels small but also distant, and I connected more with Lawrence''s energy than her character. Russell does not introduce the struggling inventor plot threads until an hour into the film, and the preceding scenes are not particularly memorable, offering only glimpses into Joy''s life. Like a counter of ingredients without a recipe card, Joy never comes together as a cohesive whole.
Jennifer Lawrence is wonderful in Joy, her third collaboration with former director-non-grata David O. Russell, but the movie is less impressive than its star. With a start-stop screenplay from Russell and plenty of disappearing characters, Joy is uneven and superficial, yet it manages to entertain. Lawrence plays Joy Mangano, a pioneering female investor and inventor of the self-wringing Miracle Mop; a role she is too young for but nonetheless kills. Robert De Niro and Bradley Cooper also re-team with Russell to play Joy''s cantankerous father and a QVC executive, respectively.