Who is david o russell dating
In 2004, audiences were befuddled by his scattershot philosophical comedy, “I Heart Huckabees”, a film which is remembered primarily for Russell’s on-set temper tantrums.Based on the life story of Joy Mangano, its titular heroine (Jennifer Lawrence) is a divorced mother who supports her family in the late 1980s by working at an airline ticket desk.As in Russell’s earlier film, “The Fighter”, that family is a many-headed monster of neurosis, dependence and ingratitude.Joy’s anxiety-prone, television-addicted mother (Virginia Madsen) never leaves her bedroom, even when she has flooded it by blocking the pipes.Joy’s ex-husband (Édgar Ramírez) and father (Robert De Niro on autopilot) are sharing her basement, with a toilet-paper borderline between their territories.And her half-sister (Elisabeth Röhm) delights in reminding Joy that she has made a mess of her life.Here, then, is a rousing feminist fable about an industrious inventor sticking to her guns (literally, in one scene, when she vents her frustrations at a firing range).But it is clear from the film’s opening seconds that Russell has something else in mind.
Then he cuts to a pastiche of a black-and-white daytime soap opera, followed by a puzzling caption informing us that the film is “inspired by the true stories of daring women”.But it is a mess that she cleans up, in more ways than one, by developing and manufacturing a self-wringing Miracle Mop which she then sells on a fledgling home-shopping channel, .Better still, she wins over viewers by rejecting the Barbie-style make-over foisted on her by the channel, and going on camera in her own casual clothes.And “Joy” continues in this woozily artificial vein for another two hours, with heightened dialogue, distracting camera angles, caricatured characters and theatrical sets.
It’s strange, because on one level “Joy” is a conventionally inspiring tale of a plucky entrepreneur realising the American Dream. “The Fighter”, “Silver Linings Playbook” and “American Hustle” have established him as a director who delivers intelligent, Scorsese-like entertainment on a regular basis. And his follow-up, “Nailed”, was so calamitous that he abandoned the project: it was finally released last year, under a pseudonyn, as “Accidental Love”. Simply because Russell’s gloomily surreal new drama, “Joy”, seems to be a deliberate effort to end his award-winning run as a safe pair of hands and to remind us of the bridge-burning eccentric he used to be.