Chicago, 1968. Joy (Banks) is a suburban housewife. Married to Will (Chris Messina), a rising lawyer, her life revolves around PTA meetings, baking and hanging out with her widowed friend Lana (Kate Mara) on her porch. Pregnant, Joy is eagerly awaiting the birth of her second child. things take a turn when Joy passes out while dancing with her teenage daughter (Grace Edwards). It turns out that Joy has a heart condition, brought on by the pregnancy. Her doctor explains, the only cure, “don’t be pregnant.” Without intervention, she has only a 50% chance of surviving childbirth.
With Will in tow, Joy appeals to the executive committee at the hospital—all men, of course—to obtain an abortion. Joy’s doctor makes the case for her, but the committee denies her request. Slowly at first, Joy keeps advocating for herself. First, by claiming she is suicidal and thus, in need of a therapeutic abortion. Soon, she discovers the Jane Collective, a group of gutsy, opinionated women—notably Virginia (Weaver) and Gwen (Wunmi Mosaku) committed to breaking the law to provide women with safer abortions.
The Jane Collective is based on the Janes, a group of suburbanite women who ran an underground abortion clinic in Chicago from the late sixties until abortion became legal in 1973. Through them, Joy can get an abortion. Despite Will’s support, Joy opts to lie to him and their daughter, claiming she had a miscarriage. The plot is solid until then. Her continued deception leads to an occasionally confusing narrative where Lana is used for little more than an occasional sounding board for Joy and a brief source of temptation for Will.
The first two acts of Call Jane are engaging and a bit agonizing as Joy is forced to take control of as her own life, eventually becoming more involved with the collective. The third act gets a bit messy as she lies to her family to continue her work on behalf of women. Lying seems unnecessary here and the Janes victories come to easily. There are no conflicts, even the issues between Joy and her family are easily brushed aside. The lack of conflict is a tepid approach to what is and continues to be, an extremely emotional subject.
Presented in the 1.85:1 aspect ratio, Lionsgate has provided a solid 1080p transfer. Fine detail is more than acceptable. The many facial close ups look normal, though some extra lighting is in evidence during some dimmer situations. The color palette leans toward beiges and yellows, devoid of any digital compression issues, the result is a pleasing transfer.
The DTS-HD Master Audio 5.1 track serves this dialogue heavy film well. Surround activity is subtle as expected. Environmental sounds are well mixed, never interrupting dialogue. Viewers should be pleased with this track.
English and Spanish subtitles are available.
Along with a digital copy of the film, the following special features are included:
- Audio Commentary with Director Phyllis Nagy and Producer Robbie Brenner
- You Are Not Alone: The Making of Call Jane (HD, 24:01) Features interviews with cast and crew.
- Selected Deleted Scenes (HD, 3:26)
