Vanessa Loring: Your parents are probably wondering where you are.
Juno MacGuff: Nah… I mean I’m already pregnant, so what other kind of shenanigans could I get into?
Bamf here rematerializing from the void..
There I was, heading up the 101 towards Hollywood to Edgar Wright at The New Beverly Cinema. Wright has been running a double feature film festival there over the past two weeks featuring films with their actors and directors for Q and A’s beforehand. That night the bill was An American Werewolf in London and Tremors, with John Landis in house as well as the director and screenwriter for Tremors. I left plenty early, but an accident caused traffic to move like a Wii waiting list, slowly. The place has been a packed house at all of these screenings, with people sitting in the aisles at times. Show time was at seven, it was half past six, and I was still a good thirty minutes away. Succumbing to the fact that I wasn’t going to make it in time, I asked my trusty mobile what films were showing in the area as traffic inched forward. Juno popped up on the display, and the show time worked perfectly for me. It had been a film on my list to see, so I cut my losses and went farther into the dark heart that is Los Angeles. Made it in time, even had time for a pre-show drink. I don’t know what I missed at the Bev, but I know what I would have missed had I not changed my plans.
Right now, Jason Reitman and Diablo Cody have a perfect record when it comes to great film making team-ups. I want it to last, I want this film to succeed, and I don’t want Juno 2: Should we keep it this time? The problem I face in writing anything about Juno is that this could very easily turn into an embellished recall of the plot, a bit where I gush on and on over my favorite lines and comedic timing. That would be great fun for me, but little interest to those who have not had the chance to see it yet. This film, this story, these characters, they all just work for me. When you hear the plot you first will think of Knocked Up, but that would be like comparing the lesser American Me to the greater Blood in Blood Out, or The Stoned Age to Dazed and Confused. I loosely use those examples to make my point as the driving point of Knocked Up and Juno is an unintentional pregnancy, but they explore the conflict of sperm vs. egg and the responsibility that comes with that chance completely differently from each other. I loved Knocked Up, but I adored Juno.
Ellen Page plays in her breakthrough role as Juno MacGuff, a self aware 16 year old girl whose sarcastic wit is saved from no one. Michael Cera as Paulie Bleeker does exactly what we have seen him do so far, a reserved kid with a quiet disposition. Cera is perfect in this, being the great introvert for Page to play off extrovertly, but he has to be careful not to fall into that role much longer. Get him in a Meth comedy, like Spun meets Half Baked. I want to see Cera show us a little more, just so he has some longevity past the Apatow machine that is at its peak right now (Someone get me to see Pineapple Express now!). He is used sparingly though, Bleaker is pretty much just a sperm donor; the real star is Juno and her growing tummy. In the film, we go through the seasons of change as Juno deals with the consequences of unprotected sex. The burden of coming clean with parents, dealing with a social Scarlet letter in High School, and hormonal flushes roll right off Juno’s back as she decides how to deal with the baby growing within her. She answers an ad in the Penny Saver for a couple looking to adopt and finds what she believes is the perfect loving home in the upper class marriage of Mark and Vanessa Loring (Jason Bateman, Jennifer Garner). An arraignment is struck, and the papers are signed. The baby will be theirs.
There will be those that say such a plot is inconceivable in the modern world. These might be the same people that could not believe Seth Rogen would ever hook up with Katherine Hiegl. I have no qualms with that pairing, but maybe that’s wishful thinking on my part, fair enough. I like the message of this film, the quiet notion of choices. I knew a couple like the Loring’s once, wanting a child so bad, maybe under false pretenses. I won’t soap box here, but while I am pro-choice on the abortion debate, I wouldn’t mind seeing more local adoptions out there. Just a thought, from a 20 something single male with no wife, no girlfriend, and no kids—so take it for what it’s worth.
I predict this film will do amazingly well on DVD as the buzz continues to grow past the theatrical release. There is a Napoleon Dynamite quality to the film. Page doesn’t play a droll character like Heder did; there is this charming quality about the film, from the story to performances that just makes you fall for the whole thing. The music by Kimya Dawson and others pairs so well that if you like this film in the slightest bit you will be compelled to pick up the soundtrack as soon as possible. I certainly am adding some more female artists to my male centric playlist because of this film.
As stated, this film will move the discs when it finally hits shelves, but don’t wait for that. Juno is a film that had me laughing a day after the credits finished. Small moments would pop in my head and a soft chuckle could be heard coming from my gut. Around Christmas time they will have 800 to 1000 theatrical releases, so look to the official site for the coming availability in your area. Juno got me, I hope she gets you.