If you haven’t seen Juno, do not read beyond the first paragraph because I haven’t learned how to write a movie review that doesn’t give things away. I’m more interested in dissecting films. Subliminal philosophy and politics in pop culture inspires me to write more than helping people decide how to spend their money and time. Although, only a misanthrope would hate this charming movie about sixteen-year-old Juno MacGuff’s struggle to find a good home for her unborn baby. Juno, played by Ellen Page, reminds me a lot of Tom Henderson (a.k.a. Chi-mo) in Frank Portman’s novel King Dork because of the music Juno and Tom both love. Juno the movie, lacks an edge except for Juno’s the character’s wonderful dialog, which zings due to the writer Diablo Cody. Cody, the author of Candy Girl, A Year in the Life of an Unlikely Stripper, provides the one clue to one of my major questions about the film: Is the dialog and attitude of the young girls in this picture in any way representative of youthful females of today?
Juno is the realistic polar opposite of the unrealistic movie Knocked Up, a film I dissected in “Morality in Knocked Up Places.” Both films are about unplanned pregnancies resulting from smart women making stupid mistakes when it comes to having sex. You’d think with all the official and unofficial sex education that goes on in schools and pop culture that these basic skills would be ingrained in the current generation of young people exploring biological urges. But then comedy is often about exceptional mistakes.
In Knocked Up we had a career-successful female beauty mating unrealistically with a career-lacking loser of questionable physical charms, Juno realistically pairs a girl geek with a boy geek. Unlike Knocked Up, Juno spends more time exploring the abortion issue but both movies reject it. Cliché Hollywood is supposed to be about liberalism, but it’s my belief that both films promote common conservative ideals. Back in the 1960s and 1970s this subject matter would highlight the generation gap, but in Juno, Juno’s parents are savvy and supportive from the first moment this issue comes up. Juno isn’t abandoned by her parents, kicked out of school, shunned by her friends or required to move away for nine months and hide her shame. Hell, Juno isn’t even shown as being ashamed for being a dumbass and not having her boyfriend wear a condom.
In fact, this is a pretty guilt free movie, even though there are a lot of regrets expressed by the characters, and emotional suffering. The story and characters show a kind of Eastern philosophical acceptance about what goes on in life. Like I said before, this is not an edgy film full of intense overblown drama. There are two events in the film I would like to examine, and like I warned above, talking about them will spoil the movie if you haven’t seen it.
My first question about this film: Is Mark Loring, the potential Dad for Juno’s baby played by Jason Bateman, portrayed as a bad-guy in Juno? At the last moment he decides to leave his wife, ruining her plans for motherhood, and messes up Juno’s dream of giving her baby a better place in life than her life. At first viewing, Mark appears to be the poster male for the often stated remark of angry females that men are assholes. Vanessa Loring, played by Jennifer Garner, is at first shattered by the news but quickly accepts his decision?
Mark decides to do what the men of Knocked Up only dream about. He abandons marriage and child for personal interests and hobbies. Oddly in Juno, written by a female writer, this is accepted, but in Knocked Up written by a male writer it is not. I have to ask is it male guilt that maintains the monogamous status quo? Juno picks Mark and Vanessa living in their picture-perfect McMansion as the obvious place to let her baby nest and grow up even though it’s clear to both her and the audience that Mark and Vanessa have nothing in common. They are as different as the couples in Knocked Up, yet they hadn’t married because of pregnancy.
Juno MacGuff desperately wants marriage to be about living happy-ever-after forever, something her parents failed to do. Mac MacGuff has to advice Juno is to find the person that gets her and hope for the best. As Peeping Toms staring into the two worlds of Juno and Knocked Up – we the audience sees that most of the couples do not follow this advice. The philosophy expressed by Judd Apatow is men should abandon their personal desires and bite the bullet for children and family. Diablo Cody on the other hand expresses that friendship is more powerful than families.
Mark Loring is leaving Vanessa because he wants friends of his own kind, and in this movie that is accepted. The second piece of implied movie philosophy that I question though: Why shouldn’t the baby go to Juno and Paulie? Am I the only person to wonder why Juno and Paulie shouldn’t keep the baby once they discover how important their friendship is to each other? What is Diablo Cody and Hollywood telling us in this instance? Is the right thing for irresponsible sixteen-year-olds is to give up their babies? Yes, our society abhors teenage pregnancies, but does it also hate teenage marriages? Is Apatow taking a better moral stance than Diablo Cody? Sure Vanessa deserves to have a baby too, but doesn’t a baby deserve to have its genetic parents, especially when they love each other?
I can’t help but wonder if you got Judd Apatow and Diablo Cody together if they wouldn’t hammer out some kind of policy that up to a certain age people should be free of responsibility. Cody evidently believes if there are no children you can always opt out. In all of this I’m wondering if Hollywood isn’t slowly working out a philosophical position on modern morality, but one that probably trails the actual activities of the current generation.
Juno has a happy romantic ending with Juno and Paulie playing guitars together. We know the results of Juno’s agonizing decision making when we see her scrawled note to Vanessa framed on the wall, but we do not know the process of how she reached that decision. Juno never consulted Paulie, the biological dad, or her best friend Leah, or her parents, so her thoughts are never revealed to us. But I like Juno so much as a character that I believe she would be a wonderful mother and Paulie would be a good father. I feel sorry for the kids growing up with the Knocked Up parents because they were too much like my parents, married and staying married for the wrong reasons.
I’m quite sure most people will think I’m seeing too much in movies. However, I don’t believe writers write just to entertain, although that might be 99.99% in some cases. I think serious writers, even writers of comedy, want to say something about their generation and the world. As a baby boomer, I was bombarded by the fictional morality of the generation before me. I know the baby boomers demanded and expected the whole wide world to watch them. So, is it too much to expect that later generations might have reactionary messages hidden away in their stories? King Dork was a hilarious missive from Gen-X to the Catcher-in-the-Rye crowd.