Juno is a 2007 film, directed by Jason Reitman, staring Ellen Page and Michel Cera. The film centers around 16 year old Juno (Ellen Page), who gets pregnant after having sex with sometimes boyfriend, sometimes best friend Paulie Bleeker (Michael Cera). The film then follows the optimistic, and mostly upbeat journey, as Juno tries to find an adoptive family, comes to terms with being a pregnant teenager, and puzzles out the mystery of love.
Juno, staring Ellen Page and Michael Cera
The story itself takes place over several seasons, beginning in autumn when 16 year Junior High student Juno (Page) discovers that she’s pregnant. After deciding that abortion is a bad idea (after being told that babies have finger nails), she decides to give the baby up for adoption. Browsing through a local paper with friend Leah (Olivia Thirlby), she finds the perfect couple in Mark and Vanessa (Jason Bateman and Jennifer Garner respectively). The film then follows the twists and turns one would expect a teenage drama to follow, as well as few most wouldn’t.
The film covers heavily the theme of teenage pregnancy. It displays an overtly optimistic view the subject, with the most prominent mishaps involving the adoptive family. It doesn’t explore the social ramifications, or even go deeply into the characters personal territory, such as school life, home life, and expectations on them when pregnancy is factored in. This is a shame, as for the most part the film plays it safe, keeping most of the changes physical, and leaving the characters development in these areas to a minimum. Other aspects which the film explored were things such as abortion versus adoption, and whilst the film could be said to have a pro-life message, it doesn’t push these views onto the viewers, which is an impressive feat.
Juno (Page) sitting on the chair, pipe in hand.
The characters are relatively interesting, though much of the depth and exploration is done through and by Juno (Page). Whilst she makes some personal realisations throughout the film, the other characters are left for the most part as they are. Paulie Bleeker (Cera) remains pretty much the same throughout the entirety of the film, and any development that’s made is barely visible. But the film is centered on Juno after all. The characters mostly stay true to form throughout, though there is a moment that feels slightly out of character with one of the adoptive couple, Mark, pulling out a stock standard cliché that can be seen from a mile away. It feels wrong for the character, considering the enormity of the decision he makes is treated as a small thing, as well as the way he pulls it off. The actors do well with their performances, making the characters believable enough to invest interest in. Page brings the snarky Juno to life, and Cera plays the role of shy, quiet and awkward guy to perfection. The supporting cast vary, but generally do a good job with what they’re given.
The script, on the surface of things, is very well written. The whole affair feels very plot-lite though, with much of the drama coming between Juno and the adoptive parents. Without those scenes, it would feel like a montage of sequences building up to a pregnancy, without any sense of drama or motivation. The scenes that shine are those between Juno and her father. It gives the story a sense of meaning and direction beyond the obvious forthcoming pregnancy. The humour of the film caries a dry, snarky tone, and for the most part works, but a few intended laughs fall flat. The dialogue tries too hard though, with most things that come from Juno’s mouth being snarky or ‘smart’ in nature. Whilst this fits with her character, it does grate after a while, and the back end of the film has moments where there is no snark, which is a welcome thing. The faux teenage speech however doesn’t loosen up as much, leaving the viewer trying to decipher what they were actually trying to say. An early scene in the convenience store has possibly the most grating moment of dialogue, though the scene after almost takes the cake, with the phrase “what the blog”.
Juno (Page) using a Hamburger Phone, whilst (possibly) talking in faux, snarky teen speak.
The direction of the film is nicely done, and creates the great Mid-West America feel, though at times it seems to resemble Canada more than the north west, with the filming in Vancouver showing through. The opening shots of the seasons are commendable, and capture the feel they are trying to convey for each moment of the story, as well as firmly establishing the time. Autumn is a splay of orange and yellow, capturing the warmth of the moment, and the beginning of things to come. Winter is a white sheen, using dull colours to give off a sense of dawning responsibility. Spring uses cooler colours, to give a sense of new life and new love. Reitman also seems to have a fondness for close-ups, which are used effectively throughout the film. Also, kudos must go to the music choices, with the soundtrack being an assortment of brilliant tracks from across eras, which really solidifies the films upbeat tone.
The film itself works, and that’s the most important thing. Despite some minor let downs, it is a decent film, even if it’s one I normally wouldn’t watch, or probably won’t watch again. But for those who want something with a bit of drama, a little romance, and a touch of dry humour, this is hard not to recommend.
At Sunlight's Edge 