Film Review: Juno (2007)
L.P. Hartley’s famous assertion in his 1953 novel The Go-Between that “the past is a foreign country” resonates profoundly in today's cultural landscape. In an era where the standards of “wokedom” and “political correctness” have become increasingly rigid, one might argue that if Hartley were writing today, he would likely rephrase it to “the past is a minefield.” This shift reflects how societal norms have evolved, rendering once-innocuous themes problematic. A prime example of this phenomenon can be found in the 2007 film Juno, directed by Jason Reitman. Initially celebrated as one of the most crowd-pleasing Hollywood films of its time, Juno has since faced scrutiny for its perceived anti-feminist and conservative stance on significant social issues, making it a film that some may now regard as inconvenient.
Another aspect that adds to the film's complexity is the identity of its lead actor, who is now known as Elliot Page. When Juno was released, Page was an actress named Ellen Page. The contemporary discourse surrounding gender identity and the concept of "deadnaming" complicates discussions about the film. Using Page's former name, whether intentionally or unintentionally, can lead to accusations of transphobia, highlighting how societal sensitivities have shifted since the film's release.
In Juno, Page portrays the titular character, a 16-year-old female high school student from Elk Hill, Minnesota. Juno is depicted as intelligent, perceptive, and eloquent—traits that set her apart from her peers, particularly her friend Leah (played by Olivia Thirlby), a cheerleader who embodies the “popular” crowd. Juno’s beauty and charm win over her male friend Paulie Bleeker (played by Michael Cera), with whom she engages in a casual sexual encounter framed more as an act of friendship than romance. This decision leads to an unexpected pregnancy. Initially considering abortion, Juno ultimately changes her mind after meeting Su-Chin (played by Valerie Tian), a pro-life protester outside an abortion clinic. Consequently, she decides to carry the baby to term and place it for adoption—a choice supported by her father Mac (played by J.K. Simmons) and stepmother Bren (played by Allison Janney). After responding to an advertisement, she connects with a seemingly perfect couple eager to adopt: former rock musician Mark Loring (played by Jason Bateman) and his wife Vanessa (played by Jennifer Garner).
Written by Diablo Cody, satirical blogger and former stripper, Juno tackles the issue of teenage pregnancy with a refreshing lightness that contrasts sharply with traditional portrayals of such serious topics. While teenage pregnancy is often depicted in dark dramas laden with moralistic undertones, Juno opts for a more light-hearted approach. This tone stems not merely from quirky characters but from Juno's interactions with those around her; she is surrounded by individuals who are remarkably kind and supportive. As a result, Juno has often been categorised as a comedy, effectively fulfilling this label in its old traditional sense, as a story that culminates in happy ending.
The film owes much of its success to Jason Reitman’s adept direction. Utilizing relatively modest resources and filming in Vancouver, Reitman crafts a distinctive visual style that complements the narrative's progression over several months. He skilfully matches changes in time with variations in colour palettes and clothing choices, enhancing the storytelling experience.
Equally impressive is the cast's performance, starting with Page’s portrayal of Juno. Despite her character's initial quirkiness, Juno emerges as both charming and realistic—a testament to Page's nuanced performance. This effectiveness is mirrored by Michael Cera’s portrayal of Paulie Bleeker; together they create relatable characters whose experiences resonate with audiences.
Upon its release, Juno felt refreshing and original compared to many teen films and Hollywood comedies of its time. Its unique blend of humour and heart won over both critics and audiences alike, leading to substantial box office success and earning Cody an Academy Award for Best Original Screenplay.
However, like many films that tackle contentious issues, Juno attracted detractors who scrutinised its stance on teenage pregnancy and abortion—topics that continue to polarise American society today. Some critics interpreted Juno as an anti-abortion or even “pro-life” film despite Cody’s assertions to the contrary. As societal positions on these issues have hardened over the years and space for sensible compromise narrowed, Cody has expressed regret over writing her script.
This evolution in societal attitudes is regrettable because Juno, despite its imperfections and occasional saccharine moments that might alienate more cynical viewers, represents exactly the kind of quirky crowd-pleasing film many independent filmmakers aspire to create. Its charm lies not only in its humour but also in its ability to approach serious subjects without resorting to melodrama or moralising.
RATING: 7/10 (+++)
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