Elizabeth Bankssays in apromotional interviewforCall Jane, “as long as there are pregnant people, there will be people that don’t want to be pregnant, and this film reminds us that their safety matters.” Banks, along with her dedicated co-starsSigourney Weaver, Grace EdwardsandWunmi Mosakucommand your attention in directorPhyllis Nagy’s feature debut. This absorbing story of feminist heroism takes place in 1960s Chicago, just a few years before Roe v. Wade was enacted by the Supreme Court. It addresses the lengths women had to go through to access safe options when faced with an unwanted pregnancy. Admirably, Nagy makes conscious choices to normalize abortion as much as possible; the procedure is shown in a way that demonstrates how safe and straightforward it can be. The candidness ofCall Janesuccessfully demystifies the notion that abortion is anything but basic healthcare. This uncomplicated exploration of such a divisive subject is achieved by cleverly incorporating several humorous moments into the makeup of the film.
Joy (Banks) is a contented suburban housewife and mother to a fifteen-year-old girl, Charlotte (Edwards). She is in her first trimester carrying her second child when she begins to experience medical complications. Upon seeing a doctor, she is told that her congestive heart failure reduces her chances of surviving the pregnancy to 50%, and the only real solution, as her doctor eloquently puts it, is “to not be pregnant.” Ultimately, Joy’s decision to terminate her pregnancy and guarantee her safety doesn’t lie with her, but with a panel of hospital board members that need to vote on whether or not a “therapeutic termination” can be performed. The answer is unanimously negative, and Joy begins to search for other avenues. Her journey sheds light on the many unsafe ways women were forced to go about ending their pregnancies, which is why it is such a relief when we are introduced to“The Janes”, a collective of women who facilitated an estimated 11,000 safe abortions for women between 1969 and 1973.
When Joy first arranges her procedure through this organization, she meets Gwen (Mosaku) who takes her to a secure location, and Dr. Dean (Cory Michael Smith) who collects her hefty $600 fee but easily and efficiently conducts the procedure, all the while explaining his steps and guiding her through. The Janes also readily provide aftercare, and ringleader Virginia (Weaver) is knowledgeable and comforting. Within the first act of the film, Joy’s experience with her own pregnancy is wrapped up, and the intention of the film shifts into how this story affects women as a whole – not just Joy as an individual with her own singular reason to need Jane’s services. Joy quickly becomes attached to the community of women and their ideology of altruism superseding judgment. She becomes more and more dedicated to the group, putting her personal life on the line to be available for the women that need their help.
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ScreenwritersRoshan SethiandHayley Schoreweave in humor to help the film maintain its focus. Moments of levity are used to draw attention to the bond these women share. The Janes are protective and attentive to the women they provide their services to. They build each other up, they don’t let each other get discouraged, even when the odds are not in their favor or when they have to make the difficult decision of turning women away. When ramped-up moments of tension are broken with a quick laugh, it makes that community feel lived in and complete. While some of the characters are underutilized, one should be hesitant to reduce them to “plot devices”. The wit they lend to the dialogue reminds us that these are the stories ofreal women. They cannot be one-note or overtly melodramatic because that wouldn’t reflect their authentic experiences. The film also intensely examines a lack of access to abortion and a lack of education about sex. Both of these focal points are handled with equal parts tact and levity.
A great example is when a young woman laments that she didn’t know she could even get pregnant if she was standing up during sex. When Virginia attempts to explain the female anatomy and how conception actually works, Joy listens eagerly, clearly a little in the dark herself. Virginia jokes that Joy probably doesn’t even know what parts of her body bring her pleasure, so later, she spreads her legs with a compact mirror in hand and has a look around for herself while the soundtrack happily swoons “nobody knows about what’s going on down there,” (AMalvina Reynoldssong that is politically charged, so it’s all the more ironic when used in this context). Banks, who received the script almost three years ago, reinforces the idea that funny moments are a key component in conveying the unique philosophy of the film.She notesthat it not only allows the sometimes distressing information to “go down easier”, but that humor makes the film’s messages stick with people in a different, long-lasting way. She also says, “I find when I’m going through something hard, I’m so grateful to laugh…that’s what Joy had and offered and what Phyllis’ tone was offering people with this film.” Laughing together will no doubt bond audiences, which was Banks and Nagy’s intent.
Abortion is such a taboo subject that women have been made to feel as though they can’t always advocate for bodily autonomy or speak freely about their needs. These stigmatizations can give way to feelings of isolation and hopelessness. This is why comedy is a much-needed ingredient in a film likeCall Janeand it is pulled off to great effect. Humor plays a vital role in destigmatizing abortion so that the focus can remain on the fact that it is an essential part of women’s healthcare. Sigourney Weaver is a key proponent of balancing seriousness with dry wit in this film. She is savvy, and gritty, and easily outsmarts anyone that stands in her way. When the Janes are in a jam, we also see her encouraging everyone in the group that comes to her with solutions.
Call Janehas beenreferred to as a “feel-good abortion movie”. That’s apropos considering that this cast and this script do exemplify how good it feels knowing that you have the authority to make decisions concerning your own body, backed by a community of strong, supportive women. Joy is at the core of this realization. When she is introduced to the Janes, she is so relieved and this results in an awakening that inspires her to get involved in a hands-on capacity. In their day, the Janes did incredible work and this film showcases their efforts to audiences that may be unaware. But now more than ever, it is important to remember that safety and legality go hand in hand.Call Janewalks audiences through this concept with a light heart and gentle hand.
