Juno

Rating – 4/4

**SPOILERS**

I should probably start this by saying I am an absolute sucker for coming of age films. 

It was Richard Linklater’s Boyhood that inspired me to major in making films rather than analyze them, and my list of favorites is littered with the likes of Almost Famous and Dazed and Confused. So maybe I have a bit of a bias, whatever.

Juno, however, is able to stand out. The 2007 Academy Awards’ Best Original Screenplay winner is a delightfully charming story about the relationship between love and maturity, supported by an extremely likable Elliot Page and an endlessly quotable, often moving writing debut by Diablo Cody. It follows Page’s titular character, a snarky and independent teenager faced with an unplanned pregnancy. Choosing to give the child away to a different couple, Juno is forced to come to terms with her preconceived notions of love and its realities. 

Juno herself is a major part of this film’s appeal. Her refusal to take most situations seriously and dry, sarcastic observations are constantly entertaining, but never feel overbearing thanks to a healthy balance of deeper emotions and subtle pain beneath the usual unserious attitude. I find Juno to be an interesting case as a character. In my experience, characters are often the creation of writers creating someone, and an actor bringing it to life with their own unique touches that can tend to add elements not explicitly in the script. Juno fits so perfectly in the script that I feel that she must have been meticulously crafted by Diablo Cody when writing. Every element of the character feels naturally integrated in the script’s style, and yet Elliot Page is utterly irreplaceable in the role due to some unknowable quality he brings. My only explanation is that both Cody and Page came to a perfect mutual understanding of how to portray the character, with Page somehow knowing exactly how to play the Juno imagined by Cody. As far as I’m concerned, this can only be down to strong writing and perfect casting (and maybe a bit of luck). 

Of course the entire movie doesn’t rest on Page's shoulders. The rest of the cast fills out their roles perfectly, from J.K. Simmons as a somewhat gruff yet deeply loving midwestern dad (try watching Whiplash and follow it up with this. See how it makes you feel), to Jennifer Garner as the adoptive mother of Juno’s baby, to Michael Cera as exactly who you picture when you think of Michael Cera. Everyone here seems to understand their assignments perfectly, and all of the performances fit so cohesively within the world they inhabit. 

What makes these characters stronger is how Cody writes them to inform Juno’s insecurities and conflicts. In a brief moment, Juno casually mentions the failed marriage between her parents, and how the abandonment of her mother still hurts her. It takes up a matter of seconds in the film, but I love this moment because it perfectly describes Juno’s biggest flaw as a character. The pain associated with the current state of her family and the mere existence of her stepmom fuel all of Juno’s personal conflicts. Her idealization of her baby’s adoptive parents, her hesitancy to commit to her feelings for the baby’s father. I love that moments like this can inform so much about the story, even if it’s so brief that some viewers might not make the connection on the first watch. 

Another perfect seemingly inconsequential moment happens between the adoptive parents, Vanessa (the aforementioned Jennifer Garner) and Mark, played by Jason Bateman. Cody writes a scene where the two of them disagree on what color the nursery walls should be painted, and it tells you everything you need to know about the nature of their relationship. Special mention needs to be given to Bateman and Garner, as they have a mini drama happening in the peripherals of Juno’s story that could lead a movie of its own, as both of them have flaws that are constantly just below the surface of what seems like a perfect couple. Mark in particular stands out as the other side of the coin to Juno. While she needs what she considers a perfect love, Mark has given up on the idea, and has settled for whatever his marriage is, leaving his personal goals behind. 

It should be mentioned that both Mark and Juno’s arcs are heavily informed by their increasingly close relationship, which will certainly make several viewers mildly uncomfortable (that’s kinda intentional though, so). You may be put off by it, but considering who these characters are (Juno being overly certain she’s mature for her age and Mark having repressed his youth instead of naturally letting go of it), it makes perfect sense for the characters. And thankfully, it doesn’t get too weird. This isn’t Miller’s Girl, don’t worry. 

(I assume most people didn’t watch Miller’s Girl and that comparison went over a lot of heads. Just google it real quick, it’s not worth watching.)

I could spend so much time talking about the character dynamics and themes in Juno. I’ve probably spent too much of this review talking about it. The main point is, Juno is a funny and heartfelt story about idealized concepts of love against the stark reality. It makes you laugh, but it gives you the opportunity to consider what love really is. I’d love to see how people react to this movie at different times in their lives. When I was younger, I associated more with Juno and her worldview, but as you grow older you understand more of the complexities of Vanassa and Mark. I imagine in a few years I’ll understand Juno’s father and stepmom more than I do now. I think that’s a testament to the strength of the writing and acting in this film. The entire thing is so easy to get wrapped up in, and I can’t recommend it enough. 

(I will say the dialogue might throw people off. Diablo Cody likes to throw in a lot of quirky and out there phrases, and some people seem to be taken aback by that. I’ll never forget the stupid debate that happened in my college screenwriting class because someone couldn’t wrap their head around the fact that Juno references Thundercats. Which means that, if that breaks your suspension of disbelief, you should probably stop watching movies.)