‘I knew nothing about shocking IVF backlash – but Netflix’s new drama is crucial’
The Netflix drama Joy – based on the hard-fought true story behind the conception of IVF – hits all the right notes in this little-known retelling of revolutionary science.
It’s no easy task to dramatise the decade-long scientific, and social, struggle to bring in-vitro fertilization (IVF) into existence but director Ben Taylor and his powerhouse trio, James Norton, Bill Nighy and Thomasin McKenzie, give it their best shot.
In the movie, our protagonists play the complex humans hidden within our three ‘test-tube baby’ trailblazers – young nurse Jean Purdy (Thomasin), ambitious scientist Robert ‘Bob’ Edwards (James) and seasoned obstetrician Dr Robert Steptoe (Bill).
They are all united by one aim: to make the impossible, possible.
Reminiscent of stalwart British historic dramas such as The Imitation Game and Theory of Everything, this is a real salt-of-the-earth drama with several endearing qualities to keep you hooked.
A world-changing scientific discovery; an overlooked woman only getting her flowers decades on; and a socio-political controversy at the core of this film that saw our pioneers face down the conservative (and religious) values of 1970s Britain.
Although nowadays IVF is an increasingly common part of the conversation in women’s healthcare – with over 12 million babies born through this avenue since its creation – this was not always the case.
There was troubling pushback from the science world, the British healthcare system and local communities resistant to change which made the hopes of IVF ever coming into existence a pipe dream for several years.
But Joy is a story of resilience, determination, and immeasurable patience (as is the case for most strides forward that humanity dares to take.)
As Jean, Bob and Dr Steptoe cram themselves into a dilapidated hospital ward in Oldham, it is a startling reminder that these tales of innovation are far from glamourous.
All three actors hold their own onscreen with a fearless and unflinching performance, and their chemistry together is delightful.
The Happy Valley actor, 39, encapsulates Bob’s headstrong, blunt and contrary personality with ease, teasing out fleeting moments of tenderness to keep you rooting for him
Meanwhile, 74-year-old screen actor infuses his long-held charisma into the surgeon (notably the only Doctor in the hospital who provides abortion healthcare to those in need of it).
As expected, Bill emanates a warmth and steadiness that acts as a harbour when the plot occasionally loses its momentum.
Most important of all, however, is Thomasin’s effort.
A timeline of IVF’s creation
1968-1969: Jean Purdy, Robert ‘Bob’ Edwards and Dr Robert Steptoe started their collaboration by attempting to successful retrieve and fertilise a human egg cell
1970 – 1975: Jean, Bob and Robert officially moved to Dr. Kershaw’s Cottage Hospital, in Oldham where women are recruited to undergo the pioneering IVF treatment and become known as the Ovum Club.
1975: The first ectopic pregnancy, as a result of IVF, occurs.
1977: After a change in scientific strategy Lesley Brown falls pregnant.
1978: The world’s first ‘test-tube’ baby, Louise Joy Brown, is born.
2010: Bob, the last surviving member of the founding team, accepts the Nobel Prize in Physiology or Medicine for his work on IVF.
2015: A new plaque is unveiled outside the Royal Society of Biology to recognise Jean’s involvement.
This is far from just a tale about IVF but rather the late Jean Purdy, whose dedication to the project was not publicly recognised until 2015 when she was added to the plaque alongside her male counterparts at the Royal Society of Biology.
And that was only after a concerted campaign from Robert (the last surviving member of the founding trio who himself died in 2013 after accepting the Nobel Prize in Physiology just three years earlier).
It does take a little bit of time for the Eileen star, 24, to find her feet. Especially when the scripting offers slightly clunky exposition and necessary scientific spiel (an unenviable job for all three stars).
But as her character becomes more fleshed out, she truly begins to shine on screen, reeling you back in again.
At her core, Jean is a contradiction. A Christian pro-lifer with her own personal stake in this project and a conviction in her vision no matter the cost.
Where Thomasin truly thrives is during the interpersonal scenes that so beautifully reflect the struggle that a woman of her station and background would face during this era.
Even when you don’t agree with her decisions, the actor stirs an unexpected sympathy for her plight.
Whether her moral quandary with her mother and the church, the tender bond she shares with the women on the project (affectionately known as the ‘ovum club’) or the difficulties she encounters in her romantic life – all are imbued with soft humanity, despite the rocky start.
The gritty tone, selective storytelling and ability to weed out the previously unheard voices makes Joy (written by Jack Thorne and wife Rachel Mason) feel like essential viewing – if only to honour those who paved the way.
The onscreen talent soon transforms an unconvincing beginning into a rousing and necessary tale that doesn’t shy away from the complexity of this debate at the time.
Perhaps its main pitfall is the formulaic pattern it follows to tell this layered chapter of British history – the familiar group of underdogs triumphant in the face of adversity.
This leaves its place in the classic films that people return to time and time again up in the air.
But for this moment, at least, it remains a well-told, moving story that shines a light on all those who contributed to this discovery.
James, Bill, and Thomasin hold nothing back as we careen towards a bittersweet catharsis that truly pays off.
In the end, Joy acts as a well-worn lesson that even when women are the beating heart of the journey it still takes decades for our story to be told.
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