Verdict: One of the most original films of recent times. It tackles a difficult subject with comedy and is both hilarious and heart-wrenching. Diablo Cody writes the most unique script of the 21st century in a film characterised by zingy dialogue, stand out acting and emotive camera shots. Great movie.
Juno’s script, by Diablo Cody, was what inspired me to work in film. That’s probably not the norm. I’m guessing a lot of people are spurred on by films considered a little bit more high-brow than Juno. But the absolutely brilliant writing of this script inspired me, and made me want to write for the screen. The script is probably the best thing about this film; which is no mean feat considering Reitman directs a film shot in beautiful colours and with innovative shots, and who can forget the outstanding Ellen Page as pregnant teen Juno?
It’s a theme which has almost been done to death in Hollywood – pregnancy. In that sense Juno isn’t a particularly unique film. It’s the edgy way it broaches the subject that separates it from so many dull rom-coms about surprise knock-ups (see if you can decipher what I’m referring to…).
I’m going on a lot about the script. But it’s hard not to. Let’s look at the opening exchanges between Juno and the utterly fascinating shopkeeper:
“Back for another test?”
“I think the first one was defective. The plus sign looks more like a division symbol, so I remain unconvinced.”
“Third test today, mama bear. Your eggo is preggo, no doubt about it. It's really easy to tell. Is your nipples real brown? Yeah, maybe your little boyfriend's got mutant sperms; knocked you up twice.”
“Silencio, old man! Look, I just drank my weight in Sunny D and I got to go pronto.”
“Well, you know where the lavatory is. And pay for that pee stick when you're done. Don't think it's yours just 'cause you marked it with your urine….
What's the prognosis, fertile Myrtle? Minus or plus?”
“I don't know. It's not seasoned yet.”
“Take some of these.”
“No, there it is. God, that little pink plus sign is so unholy.”
“That ain't no Etch A Sketch. This is one doodle that can't be un-did, home skillet.”
I mean, come on. That’s absolute genius. The entire film comes up with incredible sayings that just have to be integrated into my everyday speech.
Aside from the script, there is some pretty brilliant acting in Juno. Page, in her breakout role, completely owns the screen like a seasoned pro. For most of the film she is utterly hilarious in a unique dead-pan, verging-on-crazy style. She shows her true acting credentials in the scenes just after Mark admits he doesn’t want a baby and after she gives up said baby, however. Her change in emotions is heartbreakingly realistic and adds a new dimension to the previously comedic role, and rightly was nominated for the Academy Award for Best Actress. The supporting cast are no less impressive either; Michael Cera is always is nails-on-blackboard awkward and utterly adorable, Jennifer Garner is both irritating as hell and totally endearing, and Allison Janney and J.K Simmons for me steal the show as Juno’s oddball parents.
Reitman’s directing is, on examination, much more emotive and reflective than it first appears. The entire make-up of the film is striking – the usages of colour, lighting and sound all lend to the emotional rollercoaster of both the audience and the titular character. The opening sequence interspersed with cartoon-like graphics of Juno is beautifully done and opens up nicely onto the lawn with the infamous armchair.
Juno's soundtrack is one of the most indie, unusual and beautiful in years, and enjoyed correspoinding success. Many of the songs are performed by the brilliant Kimya Dawson, and the entire soundtrack has a positive, edgy, not run-of-the-mill feel to it, that complements the message and performances of the film beautifully.
The film received both negative and positive attention for its treatment of the topic of abortion. It’s hard to say on which side (pro-life or pro-choice) the film comes down on; Juno eventually decides against an abortion and later implies to her step-mother that she never even considered the option, which suggests a pro-life stance. On the other hand Su Chin, Juno’s classmate who pickets outside the abortion clinic is a caricature figure – with her incorrect language and childlike demeanour. I think this ambiguity was a terribly smart choice on the part of script-writer and director, and allowed for the film to be seen as a sweet and edgy comedy, rather than a political tool.
For me Juno is an intelligent, funny and emotional film that stays with you for one reason or another. But I have a feeling it’s like Marmite – you either love it or loathe it. I definitely love it.
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