There have been several movies about abortion in recent years: the hilarious Unpregnant, the empathetic Never Rarely Sometimes Always, and the haunting French drama Happening. Each takes a unique, necessary approach to a topic that’s more crucial to talk about than ever. Call Jane is no different, joining the ranks with a new, refreshing perspective — one that masterfully toes the line between comedy and drama and imbues every frame with vibrant late-60s style while still feeling relevant and relatable to a modern audience.
But while Call Jane is a movie about abortion, that’s not all it is. Producer Robbie Brenner and director Phyllis Nagy said it best during a Q&A at the Mill Valley Film Festival. Brenner called it a coming-of-age story, whereas Nagy spoke of how she was drawn to the collectiveness in the film. Both of these things are what make Call Jane truly sing.
This story belongs to Elizabeth Banks, who plays Joy: our central protagonist. Her journey throughout is a remarkable one. A well-to-do housewife who spends most of her days, as Sigourney Weaver’s character Virginia points out in the film, “baking snickerdoodles,” she starts out needing a life-saving abortion after her pregnancy threatens her life. It’s hard to watch her go through her list of options — unsuccessfully petitioning an unsympathetic board of all-male doctors, going to a dangerous locale to have the procedure, and even considering throwing herself down the stairs — before ultimately finding the Janes, a group of women who help women get a safe abortion and support them through the aftermath, on a flyer.
Joy starts off scared, almost meek at times, and judgemental of women who get abortions for reasons other than her own. However, she ultimately finds her voice, her passion, and even herself by helping all women who need them, no matter what. Joy is smart and brave, persevering through the many obstacles standing in her way. Banks plays her arc to perfection, and seeing her grow, discover her purpose, and become a leader is a beautiful and inspiring thing.
But Joy doesn’t get there alone. No, there are a whole group of women who take care of her and encourage her to become involved. There’s the aforementioned Call Jane founder Virginia, who Weaver plays with fierceness and spunk that’s impossible not to root for. She, however, has her own flaws and blind spots — particularly the ones that the standout Wunmi Mosaku, who plays Gwen, a fierce champion for the women of color who need their services, calls out.
The sisterhood is strong, constantly supporting each other while also challenging each other to be better and do more. The sense of community is not only moving, but it’s also damn entertaining. You get the sense that these ladies possess a genuine love for each other and have fun despite the important and heavy work they do.
In addition to the fantastic group of Janes, the cast is an embarrassment of riches. Chris Messina plays Joy’s criminal attorney husband, Cory Michael Smith stars as the abortion doctor the Janes work with, Kate Mara is Joy’s neighbor, and up-and-coming scene-stealer Grace Edwards appears as Joy’s daughter Charlotte.
Nagy called this an easy watch, and I’m inclined to agree — it’s accessible and enjoyable, never feeling like a lecture or veering into after-school-special territory. Before the screening, she even told the audience it was okay to laugh, and thankfully she did. There are some hilarious moments peppered in with the poignant moments, and it never feels melodramatic.
Nagy doesn’t shy away from showing difficult things, but she’s not interested in exploitation either. It’s her careful blend of bluntness and restraint that is so effective. Yes, there are heavy topics — getting an illegal abortion can be a nerve-wracking and unpleasant experience. But it’s also, as they say time and time again, just a simple procedure that’s over in 20 minutes. By removing some of the mystery, some of the misconceptions are also stripped away. It’s not a political discussion — it’s healthcare.
Watching this in a post-Roe v. Wade America is a complex experience. The moments of triumph filled me with a strange combination of emotions. On one hand, there’s a pang of sadness at how far we as a society regressed, how much progress we’ve undone. It’s scary to think about going back to the times depicted in this film: the fear and uncertainty and danger. But on the other hand, there’s a sense of hope, too. The Janes fought the good fight once before and won — proved it was possible. Certainly, we can do it again if we work together.
Call Jane is a story about abortion, but more than that, it’s a story about community and connection — and what we can achieve when we don’t act alone.
— Taylor Gates