Call Jane is a competently made, well-acted historical drama that doesn’t give its charged subject matter the stakes or urgency it needs. Loosely based on The Jane Collective, an underground organization that provided illegal abortions for women in need of its services, Phyllis Nagy’s feature-length directorial debut offers a timely, nuanced, mostly sunny look at the five years preceding the Supreme Court’s Roe vs. Wade ruling. That it chooses to hitch its perspective to a conservative blonde suburban housewife is both a helpful storytelling device and kind of a bummer.
The movie begins with a long tracking shot behind the bob of its protagonist, Joy (Elizabeth Banks), walking through a Chicago ballroom’s hallway. After rebuffing her husband Will’s (Chris Messina) motion to celebrate and mingle with his new law firm partners, she heads to the building’s police-lined front steps as protesters shout and scream in the distance.
The movie begins with a long tracking shot behind the bob of its protagonist, Joy (Elizabeth Banks), walking through a Chicago ballroom’s hallway. After rebuffing her husband Will’s (Chris Messina) motion to celebrate and mingle with his new law firm partners, she heads to the building’s police-lined front steps as protesters shout and scream in the distance.
- 1/23/2022
- by Jake Kring-Schreifels
- The Film Stage
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