Call Jane

It’s set more than 50 years ago yet feels more urgent than ever. In fact, many moviegoers probably wish Call Jane was more forceful.

This period drama chronicles an underground abortion clinic in the years prior to Roe v. Wade. But it makes its point by de-politicizing the hot-button issue and just saluting the straightforward story of a middle-class, God-fearing woman whose circumstances are relatable and increasingly desperate. And the film is arguably more persuasive as a result.

It’s set in 1960s suburban Chicago, where Joy (Elizabeth Banks) is a housewife expecting a second child by her supportive lawyer husband (Chris Messina). But when she becomes ill, a diagnosis reveals that her life is in danger if she doesn’t terminate the pregnancy.

Joy’s demeanor remains unassuming yet confident, exuding a quiet determination to offset her naivete and initial apprehension. But a horrific meeting with the all-male hospital board who must approve the emergency abortion request results in a chilling rejection.

Agonizing over her right to choose on her own behalf, she needs to pursue other avenues, which leads her to a back-alley clinic overseen by free-spirited grassroots activist Virginia (Sigourney Weaver). Joy’s meeting with a doctor begins with an up-front cash payment, verification she’s not a cop, a plea for total silence, and no questions.

The aftermath of the procedure puts a strain on her marriage, especially when Virginia recruits her, despite Joy’s moral reluctance, to become a part of her group’s inner circle. “We help women. We don’t ask questions,” Virginia explains.

The feature directorial debut of Carol screenwriter Phyllis Nagy simmers with vivid sociopolitical unease in the era of Vietnam and civil rights that’s chronologically distant but topically relevant.

Banks (Pitch Perfect) provides an emotional anchor by balancing Joy’s strength and vulnerability, even if her character’s transformation from skeptic to all-in crusader comes too easily.

Downplaying some of its more graphic details, the film mostly avoids overt preaching, although melodramatic contrivances derail some of the narrative momentum in the second half.

Destined to be viewed by some moviegoers solely through a contemporary lens of political partisanship, Call Jane is unlikely to change many perspectives in today’s ideologically polarized landscape, despite its worthwhile intentions.

Still, you don’t need to be pro-choice to admire the film for its skillful navigation of tricky thematic territory, or these empowered women for their courage and compassion.

Rated R, 121 minutes.