When my friend muddled the cinema times and we failed to make The Danish Girl, I wasn’t too disappointed because we plumped for Joy instead. I'd heard good reports of it and was interested to see what Jennifer Lawrence (known to me only through Hunger Games ) would make of the role of a beleaguered mother with an entrepreneurial streak.
In the end I did enjoy the film but in some respects was disappointed. The opening depended too much on clips from a TV soap opera to set out the theme of ‘strong woman’. Nor did I feel we needed so much back story of how Joy met her live-in ex and the previous run-ins with her father and half-sister. But then I never was keen on back-story-dump, however engaging the back story might be.
As soon as Joy invented her miracle mop, the pace picked up and the plot had its own momentum, but there were still sticking points for me - what did the grandmother add apart from a voice-over? (No I don’t like voice-overs either!) and motifs from Joy's early life were dragged in, as if the point of it all needed pinning down. (Business tycoon just happens to have the childhood toy she designed in a cardboard box by her desk …?)
|How to do it well!|
Of course there are many examples of successful biographical fiction – Mantel and Cromwell spring instantly to mind! - but I’ve also found quite a few that, like Joy, fall short of perfection. (It seems invidious to list them, but for me Jill Dawson's Rupert Brooke didn't really fly and I gave up on David Lodge's H. G. Wells, although a biographer friend liked it a lot. You can find one I did like here.)
|Not so sure about this one|
Authors of biography - even fictional biography - are bound to hold their subjects in a kind of respect and I suspect this has hampered the writing of Joy. Some fictional elements have been added – the evil half-sister, and the apparently unresolved sexual tension between Joy and the man who steered her through her early TV appearances. I’m also gratified to find the voiceover grandma was an add-on! But somehow these plot-lines, which could have provided key story arcs, don’t feel fully realised – because, I suppose, they didn’t in the end impinge on what happened to the real Joy.
Although I abandoned my novel a while ago, I’ve discovered it hasn’t abandoned me and I’m now approaching it from a different angle by writing from a number of viewpoints and without any reference to ‘the facts’ beyond the most obvious historical turning-points. We’ll see how far I get this time!
The Jewel – based on the life of Jean Armour, wife of Rabbie Burns.
I’m sure she’s worked out just how to tackle the merging of fact and fiction.