David O Russell seems to have the knack of creating great films from fairly unpromising material – Silver Linings Playbook and American Hustle are two movies that rose far above their IMDB outlines. On paper, the true life story of Joy Mangano, the woman who invented the ‘Miracle Mop’, might suggest that the average viewer should take along a pillow in order to sleep comfortably through the whole experience. But Joy is actually a riveting slice of cinema, made especially enjoyable by a luminous central performance by Jennifer Lawrence.
When we first meet Joy she’s a child, obsessed with building imaginary worlds out of scraps of paper; but very soon, she’s grown up, stuck in a dead end job, and divorced from her husband Tony (Edgar Ramirez) who still lives in the basement and shares parental responsibility for their young children. Joy’s soap-opera-obsessed Mother, Terry (Virginia Madsen) refuses to leave her room, while her wayward husband Rudy (Robert De Niro) has just insisted on moving back into the family home after breaking up with his latest partner. All-in-all, this has to be one of the most dysfunctional families in America and Joy is the one tasked with making everything run as smoothly as possible.
In the midst of the chaos, she gets an idea for a self-wringing mop and persuades the rest of the family, plus Rudy’s hard headed but minted new girlfriend, Trudy (Isabella Rossellini) to back her invention with hard cash. But the path to bringing it to reality is not an easy one and there are shady business people out there queuing up to steal her idea. Joy soon discovers that if she’s going to take her dream to fruition, she’s going to have to be as tough as the sharks she’s sharing the water with…
Russell’s take on the story is quirky, assured and never loses its sense of pace. There are great supporting performances from the ensemble cast (how lovely to see De Niro finally getting a decent role after a string of one-note cameos) and Bradley Cooper also shines as QVC pioneer, Neil Walker. But make no mistake, this is Lawrence’s movie and she makes the most of it. The camera loves her in this and you will too.