Juno

Writer/producer Diablo Cody got her start as a Hollywood screenwriter in 2007 with her script for the Oscar-nominated film, Juno, a film that was nominated for four Academy Awards, winning solely for Cody’s screenplay. This coming-of-age drama struck critics with its authentic look at the youth of the day as well as making points about both abortion and carrying a child to term and putting it up for adoption. It also examines the very real issues of parenting and being prepared to accept a child into your life and the expectations that come with that. It takes maturity and dedication to make that leap in life, and not everyone is as ready as they appear on the surface.  It’s not until you are at that point that you find out just how ready or not you actually are, and often that revelation comes as a surprise. 

When we are first introduced to the title character, Juno (Elliot Page - credited at the time as Ellen Page), she is purchasing a home pregnancy test. This is her third test, refusing to accept the truth the other two have already revealed to her. When this one also comes back positive, she has to accept that it is true, she is indeed pregnant. At sixteen years old, this is not only an inconvenient problem, it also brings with it a stigmatism. Her first instincts are to have an abortion, and she books an appointment at a local clinic to do just that. But once she is there, filling out the paperwork and observing the unceremonious environment of the clinic and those that work there, she hastily beats a retreat and decides to put it up for adoption instead. By the time she builds up the courage to inform her parents of her condition, she has already found, through an agency, a couple who are willing to adopt the baby. 

The father of the child, Paulie Bleeker (Michael Cera), is supportive, but a bit milquetoast, getting behind whatever direction Juno takes while also living up to the low opinion her parents have of him as a person; he’s basically a non-entity for the majority of the film until the final act. Meanwhile, the adopting couple, Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), are outwardly excited that their search for a child to adopt got results so quickly. Inwardly, though, Mark is struggling with his own feelings of inadequacy and a deep-rooted feeling that he is not ready to grow up just yet. Vanessa, on the other hand, is more than ready to have this baby but is paranoid that Juno will change her mind and want to keep it.

For a first foray into film-writing, Diablo Cody nearly knocks it out of the park. Juno is a funny, yet realistic look at what it would be like to be sixteen and pregnant. The only plot point that, for me, didn’t quite ring true was just how understanding her parents were when they found out. I expected more drama, but these are about the most understanding parents I have ever seen. Nitpicking aside, I love J.K. Simmons in this. He doesn’t get a whole lot of screen time, but he steals the film every time he is on screen. Allison Janney as the stepmom is fine, too, but doesn’t make nearly as much with her limited role as Simmons does. 

I’m generally lukewarm on Elliot Page. He was fine in Inception, although that role felt almost throwaway in the face of the far more interesting characters played by DiCaprio and Levitt. Aside from his turn in a couple of X-Men movies, I have not followed his career. Glancing through IMDb, all I see are titles I am not familiar with, which tells me that he is just not the kind of actor that makes films I care to seek out. Juno isn’t going to change that impression. I do appreciate what he is doing in this, and it is not without a level of charm, but there is still an emotional distance I feel that holds me at arm’s length. Page is playing Juno as a conflicted woman who is hiding behind sarcasm and an emotional shield. We see this at its most active during Juno’s first interaction with the Lorings as she responds to every inquiry with her biting, and ill-timed, wit.  She tries her best to be emotionless and dismissive about the baby, but the further along she gets, the more we see through that façade. While we never get to the point where we feel she’ll back out of giving the baby up for adoption, we do see that it won’t be nearly as easy to do as she makes it out to be. 

I didn’t see the twist with Mark coming at first. It is telegraphed a little in that first meeting but not enough to predict where this was going initially. When Juno returns to the Loring’s house for the second time and hangs out with him, waiting for Vanessa to come home, that is when I first began to suspect that all was not quite right between the husband and wife. This is further emphasized when the couple are looking at wall paint trying to decide what color to make the nursery. There is an intensity to Vanessa that just isn’t there with Mark, and it becomes obvious that he doesn’t see himself ready for this step. She, on the other hand, is more than ready and will even go through with the adoption without him in the picture. She is desperate for a baby and is overcome with excitement at the prospect of this adoption, whether her husband is ready or not. 

One of the most emotional moments in this movie is a simple one that only potential mothers or fathers could truly appreciate to the fullest. It’s a relatively small scene that takes place in a shopping mall when Juno and her friend happen to run into Vanessa. The baby is moving inside Juno, but Vanessa cannot feel it for herself until she tries talking to it while holding her hand to Juno’s belly. You can see just how much this means to Vanessa and just how afraid she is at all times that Juno may change her mind and keep the baby.

A major problem I have with this movie is the characterization of Mark. He is the adult man who hasn’t grown up. Vanessa is portrayed as the breadwinner, and he works from home writing commercial jingles, obsession over old music and dreaming of his old band and a music career that went nowhere. We get the sense that he doesn’t earn much doing the commercials, nor does Vanessa think highly of this work. All of this is a fascinating dynamic, but it all gets cringy and too much when he starts developing romantic thoughts towards Juno, who is only sixteen. She misreads the situation at first, but when it becomes obvious what is going on with him, she is rightfully appalled. Vanessa kicks him out of the house, which becomes a sticking point for me, too, because now the baby will be adopted by a single mother/career woman who will have to basically have a daycare or a full-time nanny raise her child. This is hardly the best environment for a baby. None of this is addressed in any way in the film, which I found to be disheartening. With all the other things this script takes time to address, this point falls by the wayside.

I know this is the more realistic approach to this type of drama, but I found myself disappointed that Mark flaked out in the end rather than pulling himself together for the sake of the baby. This was such a let-down for me, and it put a pallor over the ending of this film. On top of that, I never felt that Juno and Paulie had any chemistry, so when those two made up and officially became a couple, I felt nothing. The film ends with them jamming on guitars, in sync with each other, but I didn’t feel it was earned. Instead, I felt that Paulie was as watered down as Juno’s father has judged him to be. 

There are a lot of good things this film has to say about life, pregnancy, and everything in between. The story is easy to digest, and there really are some terrific performances to be found, especially Jennifer Garner and J.K. Simmons. Where it falters is in the relationships surrounding Juno, herself. We get little glimpses into the act that caused the pregnancy, but we really don’t learn how or why she had sex with Paulie in the first place. It never seemed like they were even dating leading up to it, based on the surprise her parents get when it is revealed who the father is. That whole storyline is underdeveloped, which left me cold once those two do become a couple late in the game. This film didn’t care about that part of the story, and, consequently, neither did I. Michael Cera is the right actor to play this role; he just needed a better-written part. 

Academy Award Nominations:

 

Best Picture: Lianne Halfon, Mason Novick, and Russell Smith

Best Director: Jason Reitman

Best Actress: Elliot Page (credited as Ellen Page)

Best Original Screenplay: Diablo Cody (won)

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Release Date: December 5, 2007

Running Time: 96 minutes

Rated PG-13

Starring: Elliot Page (credited as Ellen Page), Michael Cera, Jennifer Garner, Jason Bateman, Allison Janney, and J. K. Simmons

Directed By: Jason Reitman