JOY Trailer (2024) Thomasin McKenzie, Bill Nighy

JOY Trailer (2024) Thomasin McKenzie, Bill Nighy

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JOY Trailer (2024) Thomasin McKenzie, James Norton, Bill Nighy
© 2024 - Netflix

"You're aware we will unite the world against us." Netflix has debuted the official trailer for Joy, telling the story of the very first "test tube baby" born in 1978. This is premiering at the 2024 London Film Festival first, then will be available streaming on Netflix worldwide in November. This films tells the story of three British trailblazers: a young nurse, a visionary scientist and an innovative surgeon – facing opposition from the church, state, media and medical establishment, in their pursuit of the world's first "test tube baby" – Louise Joy Brown. An uplifting and emotional film based on the story of the birth of IVF - a major moment in science & medical histroy. Starring Thomasin McKenzie, James Norton, and Bill Nighy as the three maverick visionaries who overcame tremendous odds and opposition. LFF adds: "Ben Taylor's finely tuned debut boasts an impressive cast working to Jack Thorne’s script, which covers the crucial ten-year period when three unlikely individuals and countless brave women worked together to develop this..." Have a look.

Here's the main official trailer (+ poster) for Ben Taylor's film Joy, direct from Netflix's YouTube:

Joy Film Poster

You can rewatch the early teaser trailer for Ben Taylor's Joy film right here, for the first look again.

"Three British pioneers, one vision." Joy tells the remarkable true story behind the ground-breaking birth of Louise Joy Brown in 1978, the world’s first 'test-tube-baby', and the tireless 10-year journey to make it possible. Told through the perspective of Jean Purdy, a young nurse & embryologist, who joined forces with scientist Robert Edwards and surgeon Patrick Steptoe to unlock the puzzle of infertility by pioneering in vitro fertilisation (IVF). The film celebrates the power of perseverance and the wonders of science as it follows this trio of visionaries who overcame tremendous odds & opposition to realize their dream, and in doing so allowed millions of people to dream with them. Joy is directed by British filmmaker Ben Taylor, director of lots of TV movies including Chevy, The Circuit, Our Ex-Wife, and Raised by Wolves previously. The screenplay is written by Rachel Mason and Jack Thorne. Produced by Finola Dwyer and Amanda Posey. Netflix debuts Joy streaming on Netflix worldwide starting November 22nd, 2024 this fall. Interested?
Joy
Directed by Ben Taylor
Screenplay by Jack Thorne
Story by
Rachel Mason
Emma Gordon
Shaun Topp
Produced by
Finola Dwyer
Amanda Posey
Starring
Bill Nighy
Thomasin McKenzie
James Norton
Music by Steven Price
Production
companies
Wildgaze
Pathé
Distributed by Netflix
Release dates
15 October 2024 (BFI)
15 November 2024 (United Kingdom)
22 November 2024 (Netflix)
Country United Kingdom
Language English
Joy is an upcoming British biographical drama film starring Bill Nighy, Thomasin McKenzie and James Norton. Directed by Ben Taylor, it is the true story of the world's first in vitro fertilisation baby Louise Brown. The screenplay is by Jack Thorne who developed the story with his wife Rachel Mason and Emma Gordon & Shaun Topp. It is produced by Wildgaze and Pathé for Netflix.

Synopsis
Set in the 1960s and 1970s, a nurse (McKenzie), a visionary scientist (Norton) and an innovative surgeon (Nighy) work to develop the first 'test tube baby'.[1]

Cast
Bill Nighy as Patrick Steptoe
Thomasin McKenzie as Jean Purdy
James Norton as Robert Edwards
Joanna Scanlan
Charlie Murphy
Tanya Moodie
Ella Bruccoleri
Rish Shah
Production
A British production, the film is produced by Finola Dwyer and Amanda Posey for Wildgaze, with executive producer Cameron McCracken for Pathé. Husband and wife team Rachel Mason and Jack Thorne developed the story with Thorne providing the screenplay. It is directed by Ben Taylor.[2]

The cast is led by Bill Nighy, James Norton and Thomasin McKenzie and also includes Joanna Scanlan, Charlie Murphy, Tanya Moodie, Ella Bruccoleri and Rish Shah.[3]

Filming got underway in the UK in September 2023.[4]

Release
The film premiered at the BFI London Film Festival on 15 October 2024. It is scheduled for a limited theatrical release in the UK and Ireland on 15 November 2024, and a streaming release on Netflix worldwide on 22 November 2024.[5]

References
Asatryan, Tigran (September 24, 2023). "Joy: Everything We Know About Netflix's IVF Biopic Starring Bill Nighy". What's On Netflix. Retrieved September 24, 2023.
Dalton, Ben; Leffler, Rebecca (September 23, 2023). "Bill Nighy, James Norton, Thomasin McKenzie lead Ben Taylor's IVF film 'Joy' for Netflix, Pathe; first look with production underway (exclusive)". Retrieved September 23, 2023.
Kelly, Aiden (October 1, 2024). "Bill Nighy and James Norton Make a Groundbreaking Discovery in New 'Joy' Trailer". Collider. Retrieved October 6, 2024.
Rajput, Priyanka (September 25, 2023). "Bill Nighy and James Norton IVF film Joy filming underway in the UK for Netflix". kftv. Retrieved September 29, 2023.
Stedman, Emily (August 27, 2024). "James Norton's new movie confirms earlier UK screenings ahead of Netflix release". Digital Spy. Retrieved August 27, 2024.
External links
Joy at IMDb
vte
Jack Thorne
TV series created
Cast Offs (2009)The Fades (2011)Glue (2014)The Last Panthers (2015)National Treasure (2016)Kiri (2018)The Virtues (2019)The Accident (2019)His Dark Materials (2019–2022)The Eddy (2020)Best Interests (2023)Toxic Town (2024)Lord of the Flies (TBA)
Films written
The Scouting Book for Boys (2009)A Long Way Down (2014)War Book (2014)Wonder (2017)The Aeronauts (2019)Radioactive (2019)Dirt Music (2019)The Secret Garden (2020)Enola Holmes (2020)Help (2021)Then Barbara Met Alan (2022)The Swimmers (2022)Enola Holmes 2 (2022)Joy (2024)Tron: Ares (2025)
Plays written
Sixty Six Books (Daniel, 2011)Greenland (2011)Let The Right One In (2013)Harry Potter and the Cursed Child (2016)A Christmas Carol (2017)King Kong (2018, Broadway rewrite)After Life (2021)The Motive and the Cue (2023)When Winston Went to War with the Wireless (2023)Stranger Things: The First Shadow (2023)
Categories: 2024 films2024 biographical drama films2020s British films2020s English-language filmsBiographical films about physiciansBritish biographical drama filmsEnglish-language biographical drama filmsFilms scored by Steven PriceFilms set in the 1960sFilms set in the 1970sFilms with screenplays by Jack ThornePathé filmsUpcoming English-language filmsUpcoming Netflix original films
“Joy” has been a much-used title in recent years, one that a new film about the battle to develop in-vitro fertilization treatment justifies recycling once more with a late-film reveal: It was the middle name given to Louise Joy Brown, the world’s first so-called “test-tube baby,” and the first successful outcome in over a decade of agonized, controversial medical research. But joy is also the primary MO of this debut feature from British TV comedy director Ben Taylor (“Sex Education,” “Catastrophe”), which assigns itself the somewhat tricky task of fashioning an uplifting audience-pleaser from story material in which moments of elation are considerably outnumbered by those of crushing heartbreak.

To this day, after all, the odds are stacked against women applying for IVF, given its daunting success rate (still well below 50%) and sometimes prohibitive costs: While at least 12 million children have been born via the procedure in the last 45 years, many more remain the unrealized dream of their parents.

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Jack Thorne’s script for “Joy” navigates this tonal challenge by focusing its narrative on a woman not undergoing the treatment, but heavily invested in it just the same: Jean Purdy, the young British nurse who joined an otherwise male-dominated fertility research team as an assistant in 1969, before becoming more integrally involved as an embryologist in the years leading up to Brown’s game-changing 1978 birth. Played with plucky, earnest resolve by Thomasin McKenzie, she serves in the film as both unsung heroine and audience surrogate, cutting through the patriarchal blather of the 1970s scientific fraternity with disarming common sense and emotional intelligence.

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That the working-class, God-fearing Purdy had frustrated maternal aspirations of her own is a character detail that “Joy” withholds for longer than one might expect, and indeed the film never quite gets under the skin of a woman whose contribution to this trailblazing project wasn’t formally acknowledged until long after her cancer-related death at just 39 years of age. She’s introduced, bright-eyed and squeaky-clean, applying for an assistant position at the Cambridge laboratory of charmingly distracted physiologist Dr. Bob Edwards (James Norton), whose nascent IVF trials are still at the hamster-testing stage.

They need an obstetrician on board: Enter crotchety but kind-hearted Patrick Steptoe (a typically, elegantly droll Bill Nighy), resident at a shabby, underfunded hospital further north in Oldham, who isn’t afraid to stand up to skeptical gatekeepers in the medical world. Such brazenness is essential at a time when the very idea of conceiving a child outside the womb is regarded as a kind of crime against nature by much of the British public, egged on by the twin forces of church and tabloid media — the latter quick to dub Edwards “Dr. Frankenstein” once news breaks of his research.

On discovering what her daughter is really working on, Purdy’s conservative mother Gladys (Joanna Scanlan) is sufficiently scandalized to bar her from the family home. A sketchily drawn romance with sweet, dorky junior doctor Arun (Rish Shah) teases the possibility of domestic bliss, but Purdy resists, sensing no nuclear family in her future, even as her team inches toward a miraculous medical breakthrough.

“Joy” errs on the side of coziness in its opening stretches, locating a seam of gentle comedy in the personality conflicts between ingenuous Purdy, well-meaningly gauche Edwards and world-weary Steptoe as they find their working dynamic, and filling the soundtrack with upbeat pop-soul cuts from the era. Jamie Cairney’s lensing is soft and sun-warmed, give or take the drear of Greater Manchester, while even Sinéad Kidao tweedy period costuming is comfortingly snuggly.

That jauntiness dissipates as the project runs into various disheartening roadblocks of denied funding and failed trials, though “Joy” still cushions the human devastation at play here. It’s only glancingly attentive to the inner lives of the childless women — collectively calling themselves “The Ovum Club” — undergoing this experimental treatment, having been warned that they’re likelier to pave the way for others than to become mothers themselves. Early in the process, Purdy is criticized by one of these hopefuls for treating them “like cattle,” and adjusts her bedside manner accordingly. Edwards, too, is admonished by a colleague for speaking of women as if they’re test animals, before later proving his deeper attachment with a complete recital of their names.

Yet similar charges can be leveled at “Joy,” which is overly cursory in its treatment of these vulnerable lives — one mentions being a victim of domestic abuse and is never revisited, another is permitted a brief, stoic reaction shot to news of an ectopic pregnancy — but aims for collective catharsis as Purdy gathers them for one spirit-lifting montage of beachside revelry. Even Lesley Brown (Ella Bruccoleri), history’s first mother by IVF, is oddly shortchanged by the film, given not so much as a waking moment on screen after a climactic and duly eye-moistening birth sequence: One can’t help but wonder if a female director and screenwriter might have made some rather different choices.

Still, it’s hard to be unmoved by “Joy,” which taps into a fairly universal well of feeling regarding the choices we make, or are denied, in the families we build for ourselves. It’s sure to crumple a lot of hearts when it bows on Netflix, following its gala premiere at the London Film Festival, as viewers project their own lives onto its narrative. Despite McKenzie’s appealing, honestly felt efforts, Purdy herself feels as much a proxy for the anguish and yearning of her patients as a character in her own right. When she admits to Gladys that she’s been having unprotected sex for ten years, hoping to fall pregnant, we’re as surprised as her mother is.

A bookending voiceover by Norton’s Edwards lobbies for the addition of Purdy’s name to the memorial plaque marking the first IVF birth at Oldham Hospital, stressing the valid point that medical history isn’t made by doctors alone. “Joy” echoes the good work of the plaque in elevating a woman’s name to the status of her male colleagues and contemporaries. The lost life behind that name remains a little harder to read.

Read More About:
Ben Taylor, Bill Nighy, James Norton, Joy, London Film Festival, Netflix, Thomasin McKenzie
It’s hard to build dramatic momentum out of scientists hunched over microscopes peering at petri dishes. Indeed, director Ben Taylor struggles to clear that hurdle in his conventional but watchable enough account of the development of what became known as in vitro fertilization. While it’s more compelling as human drama than science, the film benefits from timeliness, given right-wing efforts to curb women’s reproductive freedoms and recent moves by Senate Republicans to block a bill protecting the right to IVF. That factor, plus the very capable cast, should help Joy find an audience on Netflix, though anti-choice extremists won’t be among them.

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If the production looks and sounds like a movie but plays more like dated television, the fault lies mainly with Jack Thorne’s by-the-numbers script. The writer takes Brit historical dramas like The Imitation Game as his model to map a breakthrough in 20th century medical science that gave hope to countless women unable to conceive a child. But the stodgy familiarity of the inspirational, based-on-a-true-story template gives Joy a halting rhythm that echoes the stop-start progress of the fertility treatment pioneers.

Joy
The Bottom Line
Test-tube baby story is fine for tube viewing.
Venue: BFI London Film Festival (Galas)
Release date: Friday, Nov. 22 (Netflix)
Cast: Thomasin McKenzie, James Norton, Bill Nighy, Joanna Scanlan, Tanya Moodie, Rish Shah, Charlie Murphy, Ella Bruccoleri, Dougie McMeekin
Director: Ben Taylor
Screenwriter: Jack Thorne
Rated PG-13, 1 hour 53 minutes
That team is formed when Jean Purdy (Thomasin McKenzie), a nurse and future embryologist, is hired as a lab manager in the Department of Physiology at Cambridge, working under Robert Edwards (James Norton). After making initial headway with the study of human fertilization in the late ‘60s, they take their findings to obstetrician and gynecologist Patrick Steptoe (Bill Nighy), at that time considered something of a pariah by the British medical establishment for his championing of laparoscopy.

Patrick is crotchety and dismissive of their overtures at first, but Bob and Jean talk him around with their passionate belief in the project and intriguing early research. They agree to set up operations in a disused wing of Oldham General Hospital, a four-hour drive from Cambridge. Patrick warns them they will have the Church, the state and the whole world against them. “But we’ll have the mothers,” counters Bob.

As work on the project inches forward, the three dissimilar personalities — along with Muriel (Tanya Moodie), the brisk, no-nonsense senior nurse who insists on being addressed by her job title of Matron — gradually build a harmonious professional relationship.

But the focus tightens on Jean as the central figure. A churchgoing Christian cut off by her loving mother Gladys (Joanna Scanlan) when she refuses to abandon the controversial work, Jean is revealed to have a personal investment in women’s fertility issues. This becomes especially relevant for her when her unintended romance with Cambridge lab colleague Arun (Rish Shah) gets serious and he proposes, making it clear he’s eager to start a family.

One of the more enjoyable parts of the movie is Jean’s rapport with the disparate group of women signing up for the experiment, who forge a sense of community during their hospital visits. Jean’s manner of dealing with them as she administers regular hormone injections is detached and clinical at first — much like her earlier consent to have sex with Arun, on the condition that he form no attachment.

When a member of the Ovum Club, as they’ve dubbed themselves, points out that Jean could stand to work on her people skills, she immediately softens, learning to put the women at ease. It’s through those interactions that Thorne’s screenplay shows deep compassion for the many childless women yearning for a baby, grounding the drama in basic human need as much as science. There’s poignancy also in the participants’ knowledge that most of them will not get pregnant, but that they are laying the groundwork for future mothers who will.

A heated scene in which the Medical Research Council declines to provide development funding, arguing that the research will benefit only a small handful of the population, underscores Jean, Bob and Patrick’s frustration as they try to make people grasp the concept of infertility as a treatable condition.

The one-step-forward, two-steps-back pattern of positive results followed by disappointment becomes a bit static. But after Jean learns that her still estranged mother is dying, she breaks with the group, dismissing their efforts as a failure and parting on bitter terms with Bob. That allows for the inevitable resumption of work when stinging loss galvanizes Jean back into action.

The final stretch leading up to the first successful “test-tube birth” in 1978, acquires welcome notes of suspense and emotional power — the latter amplified by text at the end of the film revealing that 12 million babies have been born thanks to IVF in the decades since. We also learn that Edwards, the last surviving member of the team, was awarded the Nobel Prize for their work in 2010.

Thorne frames the story with Bob’s letter, heard in voiceover, lobbying for the inclusion of Jean’s name on a plaque at the hospital honoring the IVF pioneers. What the script doesn’t address, somewhat mystifyingly, is the decades during which Purdy’s vital contribution went unacknowledged, no doubt due to her gender and the reductive view of her role as that of a mere lab technician.

The screenplay also fails to make much of the public hostility directed at the research team. The handful of press and protestors outside the hospital shouting “Dr. Frankenstein,” a bit of graffiti and one instance in which Jean is shown receiving a hate-mail package don’t exactly solidify the idea of a wall of opposition. A TV appearance in which Bob is shouted down by an angry studio audience is more effective.

Taylor, a seasoned TV director best known for the streaming series Catastrophe and Sex Education, does a competent job with his sharp-looking first feature, even if the narrative flow is erratic. The movie leans heavily on Steven Price’s score for dramatic weight and on a very random selection of ‘60s and ‘70s needle drops for energy. Only Nina Simone’s gorgeous cover of “Here Comes the Sun” over the opening credits makes thematic sense in terms of the story’s ultimate outcome.

Fortunately, the actors lift the material. McKenzie creates an appealing contrast between Jean’s mousy voice and her grit and forthrightness, shaded with an understated vein of melancholy. Nighy brings his usual economy of means to a veteran medical professional whose formality gives way to reveal his warm, caring nature; Patrick’s approaching retirement age incentivizes him to make a difference. Norton, nerded out with glasses and Michael Caine’s old hair, has the charm and sincerity necessary to put across Thorne’s frequently hackneyed declarations — “We’re making the impossible possible,” “Everything changes from here.”

Scanlan as Jean’s mum and Moodie as Matron both make strong impressions, though even those smaller roles are not entirely spared moments of speechifying. For instance, when Jean is distressed to learn that Patrick has been performing abortions at the hospital — which were legal by that time but still strongly opposed by the Church — Matron thunders back: “We are here to give women a choice. Every choice.”

Joy may not represent the height of sophisticated storytelling, but it has the advantage of an interesting story rescued from historical obscurity. It will touch the hearts of many parents whose lives have been changed — and in the case of their children, made possible — by those ten long years of dedication that led to the IVF breakthrough.

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Full credits
Venue: BFI London Film Festival (Galas)
Production companies: Wildgaze, Pathé
Distribution: Netflix
Cast: Thomasin McKenzie, James Norton, Bill Nighy, Joanna Scanlan, Tanya Moodie, Rish Shah, Charlie Murphy, Ella Bruccoleri, Dougie McMeekin
Director: Ben Taylor
Screenwriter: Jack Thorne; story by Rachel Mason, Jack Thorne
Producers: Finola Dwyer, Amanda Posey
Executive producer: Cameron McCracken
Director of photography: Jamie Cairney
Production designer: Alice Normington
Costume designer: Sinéad Kidao
Music: Steven Price
Editor: David Webb
Sound designer: Glenn Freemantle
Casting: Lucy Bevan, Olivia Grant
Rated PG-13, 1 hour 53 minutes
Read More About:
Bill Nighy
Jack Thorne
James Norton
Netflix
Thomasin McKenzie
Thomasin McKenzie says that because of her youthful appearance — she’s 24 — it has been “a bit of a struggle” to play her own age or older, but those worries are banished with her latest role. In the wonderful movie Joy, she delivers a remarkable portrait of Jean Purdy, one of the founding pioneers of human in vitro fertilization therapy, commonly known as IVF.

If gynecologist Dr. Patrick Steptoe and physiologist Robert Edwards are regarded as the “fathers” of IVF, then Purdy, a nurse and embryologist, is its godmother.

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It’s a spot-on perfect part for the New Zealander who starred in Jojo Rabbit, Last Night in Soho and The Power of the Dog, and she shines brilliantly as Purdy alongside Bill Nighy as Steptoe and James Norton as Edwards, who later was knighted for his services to medical research.

Joy has its would premiere screening at the BFI London Film Festival on Tuesday at the Southbank Centre, with screenings also on Wednesday and Saturday. Joy will have a theatrical release on November 15, and it will arrive on Netflix globally on November 22. The film arrives at a time when reproduction rights are being fiercely debated in the United States and elsewhere.

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McKenzie laughs when she says she that she was quite nervous about doing the film directed by Ben Taylor (Sex Education) because “it was the oldest I’ve played.”

Joy spans 10 years, “and I’m quite a young-appearing person, I always have been,” she explains. “And so its been a bit of a struggle for me to play my age or older, and I’ve been trying to make that transition from teenage roles to young-adult roles. And so this for me was that transition.”

And, quite rightly, she was treated as an adult on set as well.

On some prior productions, she had definitely “felt” that her suggestions weren’t always welcome, ”but that wasn’t the case on this film.”

There’s a line that McKenzie wanted to add for a scene where 23-year-old Purdy meets Edwards for the first time at Cambridge University, where she had applied for the post of research assistant in the department of physiology.

James Norton and Thomasin McKenzie in ‘Joy’ (Netflix)
Netflix
“Jean says, ‘These are my qualifications, this is where I’ve studied.’ It’s just a short line, but it wasn’t there before, and I felt it needed to be in to let the audience know that she’s not just randomly showing up, she was working,” McKenzie says.

She praises Taylor for setting a high bar for civility and kindness: Every soul on the movie behaved likewise, she says, from Jack Thorne and Rachel Mason and producers Finola Dwyer and Amanda Posey to close cast friend Tanya Moodie and all other cast, creatives and crew.

That attitude made her feel confident enough to suggest making it clear to audiences that Purdy was “fully qualified to be there.”

Taylor, along with Mason and Thorne — who are partners — have personal ties to IVF ”and were so deep into the story,” says McKenzie.

The film puts Jean Purdy center stage, something that history has been slow to do.

Purdy ’s participation in bringing about the pioneering conception that led to the first “test tube” baby, Louise Brown, being born on July 25, 1978, often was overlooked while her two fellow trailblazers were garlanded by their scientific peers.

There had been tremendous pushback from the general public and medical community when they were trying to make IVF happen, but once the procedure was successful, their peers, at least, applauded Steptoe and Edwards. “They received acclaim and congratulations and plaques, and at the time they wanted Jean to be included in those congratulations. But the scientific community wouldn’t allow her to be part of that because she was a woman.”

McKenzie, who studied reams of material for the role, suggests that if “Edwards hadn’t have selected Jean to go on that journey with him and Steptoe, I truly believe it would have taken them a lot longer to find the success in IVF because Jean really is the person who brought it all together.“ And there’s a lot of biographical and scientific background information to support Mackenzie’s theory.

Fittingly, however, Edwards announced at a lecture on the 20th anniversary of clinical IVF: ”There were three original pioneers in IVF, not just two.”

From left: Bill Nighy, Thomasin McKenzie and James Norton in ‘Joy’ (Netflix)
Netflix
Some, nonetheless, wondered why Edwards was the sole recipient of the 2010 Noble Prize in Physiology or Medicine for the development of reproductive medicine. For starters: The Noble Prize is not awarded posthumously, which sadly, made Purdy and Steptoe ineligible.

However, it’s striking that while Edwards’ Nobel Prize citation made reference to Steptoe’s contribution, the document has zero mention of Purdy.

Yet, she was often the sole woman attending lectures where men were addressing other men about Fallopian tubes, how eggs mature and about how the female reproductive system in general works. That is why McKenzie and director Taylor talked a lot “about wanting to see Jean as an equal” and not portray her as being a helping hand to Steptoe and Edwards, instead she was “key to it all.”

Once when Purdy took time off to care for her mother, nothing happened for months in the lab at Oldham Cottage Hospital in Greater Manchester.

Also, she was the one who suggested the lab try using the women’s natural cycles. “She was the one who figured it out,” says McKenzie.

The repercussions from those who vehemently disapproved were cruel. Some accused the three innovators of doing the “work of the devil.”

Purdy’s mother Gladys (a superb Joanna Scanlan) makes that same point abundantly clear to her daughter.

Like her mother, Purdy was a very religious person. A nurse she studied with in the mid-1960s remembers her fondly, calling her a “lovely Christian woman,” so it was tough for Purdy to do a job that ostracized her from those she loved most.

IVF pioneer Jean Purdy (Bourn Hall Clinic)
“She had so much courage because she was a very religious person,” and a big responsibility for her was taking care of her mother, so she had to make “massive sacrifices doing the work that she did,” McKenzie laments.

She was excluded from her community at church. She received death threats and hate mail. Her mum wouldn’t talk to her, and she had no other family. “So, yeah, that took a lot of courage for Jean,” McKenzie says.

McKenzie sees Purdy as someone who has “so much love and so much to give, but she doesn’t allow herself to receive that love.”

McKenzie says with intensity in her voice, “But there has always been so much pressure on women, and there’s always been so much pressure on women to be mothers. Historically, the female role in society is to reproduce and to marry and to play that role, and Jean felt she wasn’t able to do that, and so she wouldn’t let herself be loved.”

McKenzie finds that heartbreaking, and one feels the same watching the film. It’s so deeply moving that because of the work that Purdy did, countless women have been able to start a family. “She made a huge, huge impact on the world and allowed millions of people to have children that they loved deeply.”

Thomasin McKenzie as Jean Purdy in ‘Joy’ (Netflix)
The three main stars put in some serous hours to prepare. They visited London’s Guys Hospital and were allowed into the gynecological unit “to talk to the nurses, the people working in IVF behind the scenes.” They also were able to look at the incubators “that had embryos in them and they were tracking whether those embryos were growing or not, whether the cells were multiplying, which was incredible.”

They had an embryologist on set who would advise them on all the scientific scenes. “They were very rigorous about it,” McKenzie murmurs. “It was stressful because I didn’t want to look like an idiot.”

The actor had help closer to home back in Wellington, New Zealand, where, when younger, she used to babysit three children whose grandfather, Dr. Richard Fisher, is a leader and pioneer of fertility in the South Pacific country.

That family, coincidentally, moved to London and happen to live near McKenzie, who moved here a year ago. “Before we started filming, we talked abut IVF and Dr. Fisher’s experience bringing IVF to New Zealand and everything about the protests and picketing, and he gave us so many valuable pieces of information that was so valuable for filming.”

I seek permission from her to ask whether any close family have had a relationship with IVF.

She shakes her head and says that “no one in my family has had IVF.”

A moment later, McKenzie volunteers: ”I mean, I hope that I’m pretty fertile!”

She adds: ”This is a weird thing to say, but my mum had my little sister when she was 44, and my grandma had my mum really late, so I think I come from a very fertile family.”

McKenzie, however, discloses that when she was younger, there was a health situation for a little while, long resolved, where she was “fearful that I may not be able to have children.”

For that reason, McKenzie was able, she says, to feel “very connected to Jean” because of “that fear and the societal pressure that all women feel.”

Making the film was such an important education for her “on how things work inside of me,” and she was surprised about the things she didn’t know.

Actually, she was shocked by what she didn’t know. “We need to be talking about these things because if we don’t know about these — I mean, this is about birth; this is how the world keeps on going, how generations keep moving.”

From left: James Norton, Bill Nighy and Thomasin McKenzie in ‘Joy’ (Netflix)
Netflix
Another film she’s working on is The Woman Clothed by The Sun directed by Mona Fastvold. It’s about the origin of the United Society of Believers in Christ’s Second Appearing, better known as the Shakers.

She’s currently preparing to shoot Fackham Hall for director Jim O’Hanlon. I beg her forgiveness for mispronouncing the film’s title.

Smiling brightly, McKenzie elucidates. “But the joke is, it’s supposed to sound like that.”

From what I can ascertain, McKenzie plays the daughter of a titled aristocrat played by Katherine Waterston.

I first met Thomasin McKenzie in 2018, when she attended Cannes for the Directors’ Fortnight premiere of Debra Granik’s Leave No Trace, and was struck by the level-headedness she displayed at 17.

Older now, she’s just as down to earth, and I like that she doesn’t seek to visit attention-grabbing West End restaurants and overhyped nightclubs. She’d rather go with her cousins and uncle from Wellington to watch Arsenal play or out for fun adventures with her boyfriend and other friends.

“Maybe something to do with coming from New Zealand,” she explains.

Then a tiny beat later, she whispers: “To be honest, I don’t know where those restaurants are. They’re just not my haunts.”

Can’t resist saying that McKenzie radiates joy!

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Netflix invites you to witness the birth of a groundbreaking advancement in fertility in a brand-new trailer for Joy, which is a new 2024 film that is not to be confused with the 2015 Jennifer Lawrence-starring dramedy of the same name. It's also not to be confused with the 2019 Austrian film of the same name that is also available on Netflix. If we had a nickel for every movie titled Joy, we'd have three nickels, which isn't a lot, but it's weird that it happened thrice.

Anyway, 2024's Joy is a brand-new biopic from Netflix that tells the story of three very important individuals — embryologist Jean Purdy (Thomasin McKenzie), physiologist Robert Edwards (James Norton), and obstetrician Patrick Steptoe (Bill Nighy), who, somewhat ironically, is not the Science Guy. Purdy, Edwards, and Steptoe are widely considered to be true pioneers in the fertility field. Over the course of a decade, the trio of pioneers practically invented in vitro fertilization as we know it today, despite ongoing pressure and stigma surrounding the practice.

Joy is directed by Ben Taylor, who has worked with Netflix frequently before with a dozen episodes of Sex Education. The film also boasts a star-studded cast, with the lead stars including Jojo Rabbit star Thomasin McKenzie, Little Women star James Norton, and Love Actually star Bill Nighy. The film also stars Joanna Scanlan (Note on a Scandal), Charlie Murphy (Peaky Blinders), Tanya Moodie (Empire of Light), Ella Bruccoleri (The Strangers: Chapter 1), and Rish Shah (Ms. Marvel).

When Is 'Joy' Coming Out?

The release of Joy is only a few months away, as the film will be released exclusively on Netflix on November 22, which is right smack-dab in the middle of awards season. That being said, Netflix hasn't yet announced if the film will be released in theaters, which would then make the film eligible for Academy Awards consideration. In addition to Joy, the whole month of November is going to be jam-packed with a star-studded line-up of anticipated movies and shows. This includes the early Oscar hopeful Emilia Perez, the returning fourth season of Outer Banks, the critically acclaimed August Wilson adaptation of The Piano Lesson, the second third of Cobra Kai's final season, and the second concluding chapter of the long-awaited Arcane.

The incredible true story of Joy will unfold when the film officially debuts on Friday, November 22, 2024.
The events leading up to July 1978 and the birth in Manchester of the world’s first “test tube baby” — the tabloid term for the process known more soberly as IVF (in vitro fertilization) — are fascinating by any metric. It’s a story of determination, skill and genuine genius, focusing on three modest and largely unsung heroes driven in the main by a spirit of pure human kindness. Fascinating as that is, however, Ben Taylor’s warm, intelligent and never less than respectful movie, which received its world premiere at the London Film Festival this week, struggles to harness the same kind of lightning that science did.

Ostensibly an ensemble piece, Joy is actually a vehicle for the charming Thomasin McKenzie, the young New Zealand actress who broke out in 2018’s Leave No Trace and makes a welcome return to drama here. In a rare instance of age-appropriate casting, she plays Jean Purdy, a British nurse and embryologist who, in 1968, teamed with Cambridge physiologist Robert Edwards (James Norton) in his bid to find a cure for childlessness. Their first meeting, ostensibly at a job interview, has the hallmarks of a gentle rom-com; Edwards has lost his precious lab rat Sylvia, and Purdy steps in to scoop it up (“If I hear a commotion, I’m not very good at staying out of it,” she explains with a smile).

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But although there is certainly chemistry in the central pairing, Joy is more of an offbeat buddy movie, which is emphasized by the introduction of obstetrician Patrick Steptoe, played rather wonderfully by Bill Nighy. Steptoe has been working with keyhole surgery, and we meet him at the kind of stuffy seminar that is the staple of every medical drama. “You’re quite wrong,” he rails at row upon row of frowning physicians, accusing them of “wasting time on inept science.” Steptoe affects to be too busy to talk with Purdy and Edwards, but his brusque façade is quickly broken down. Before long, he is the third musketeer, and his wisdom grounds the project in much-needed reality. “You’re aware they’re going to throw the book at us,” he warns. “The church, the state, the world.”

This existential threat is the villain of the piece, and though it was very real at the time, it’s very hard in the modern age to show it on screen. The three scientists come under scrutiny from the press, and their research is both vilified and vandalized: the phrase “playing God” is invoked, and Edwards suffers comparisons to Nazi doctor Josef Mengele and literary Prometheus Victor Frankenstein. On a more literal lever, Purdy has to contend with her highly religious mother (Joanna Scanlan), who accuses her daughter of defiling nature and fraternizing with abortionists (“It’s dirty what you’re doing”).

Other than this, there’s not a lot of conflict in the story. Jack Thorne’s screenplay confects a bit of mild tension between Purdy and Edwards, whom she accuses of seeing his patients as statistics rather than women, but steers admirably clear of creating a whole new fictional nemesis, as Patch Adams did. In a sense, the enemy is time, and the trio’s research stops and starts over a period of 10 years as the cash comes and goes and sensibilities change (Edwards even gives up for a time and tries, with little consequence, to become a politician).

Nevertheless, it’s clear where all this is headed, and there’s only so much excitement to be had from the sight of embryonic cells dividing. Knowing this, Joy pivots slightly to fill us in on Purdy’s backstory, her own struggle with infertility and serious health issues that subtly foreshadow her early death at 39 (in 1985, outside the film’s timeframe). It’s a mild bait-and-switch that slightly over-eggs the ending (on a meta level, you could say Purdy did give birth, and that baby was IVF), but it does give the film some much-needed emotional heft, turning an earnest history lesson into something a tad more personal.

Title: Joy
Festival: London Film Festival
Distributor: Netflix
Release date: November 22, 2024 (streaming)
Director: Ben Taylor
Screenwriter: Jack Thorne
Cast: Thomasin McKenzie, James Norton, Bill Nighy, Tanya Moody, Joanna Scanlan
Running time: 1 hr 53 mins

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