Lessin (an Oscar nominee for “Water is a problem”) And Pildes (making his directing debut) wisely realized they didn’t have to improve the drama, though. They train their cameras on these women and they tell their stories in a real, clear-eyed way. Many of these anecdotes are horrible, as you can imagine — stories of their own abortions, which they often have to get through the mob at great cost in an empty motel, or stories. to other women they try to help but can. ‘t. Many of the Jane’s are touching to say how badly they are treated, so they want to make sure others feel safe and supported — that’s the powerful simplicity of their motivation.
The interviews are so clear and engaging, though, that it always gives excitement to a spy thriller. Women with ordinary names like Eleanor and Judith recount in remarkable detail the lengths they go to to connect with women in need: secret meetings and code words, revolving ones. vehicles and locations. “Jane”Is the pseudonym they attach to low-lying underground newspaper ads and flyers they post across the city: Call Jane, they say, using the phone number. And at the other end of the line, there’s a woman who might be in the same position at one point, ready to listen and help.
The most impressive thing that emerged was their enthusiasm — their enthusiasm to stand up and rebel against what they considered to be unjust law and put themselves at risk in the process. Recently, “The Janes” reminded us, that women have to get married just to have birth control. But the other side of that is, many more women are motivated by activism because of the civil rights and anti-war movements that are raging across the country and in this particular town. “That’s the beauty of Chicago, I think,” said a Jane known only as Peaches. “It’s a town where people do things.” Lessin and Pildes spread a lot of archival footage to provoke this period of protest, and Jane recounted how helping women get a safe abortion felt like another way to contribute to this quickly. time. Photographs of the Janees from then on — fresh-faced, enthusiastic and dedicated — bring a youthful vigor to the film. Finally, we felt like we knew them — we were friends again now. In contrast, the written details on stacks of note cards about women seeking their services provide sharp shocks of reality. One is 19 years old and has a child. The father of one is a policeman. One is “terrified.”