Juno
If one thing is true about 2007 and the movies, it’s that this is the year in which the song soundtrack is reborn and revitalized. If “Music and Lyrics,” “Once,” “Zodiac,” and “Across the Universe” didn’t prove it already, Jason Reitman’s wonderful “Juno” sealed the deal. The film it resembles most is “Once” in its’ use of music; except for the final delightful scene, the songs (written by Kimya Dawson, complimenting the score by Mateo Messina) stayed resolutely on the film’s soundtrack, commenting on its’ themes and characters, but its’ success in doing so is most reminiscent of that independent gem.
Working from a perceptive and painfully funny script by first time writer Diablo Cody (get your Oscar speech prepared, unless the strike is preventing that… 🙂 ), Reitman- who debuted with last year’s satirical “Thank You For Smoking”- looks at unexpected pregnancy from the female side, serving as a sort of cousin to Judd Apatow’s vulgar and sweet “Knocked Up” earlier this year, which took the accidental father’s perspective. But whereas that film’s strength is in its’ raunchy laughs and beguilingly sweet pairing up of Seth Rogan and Katherine Heigl, “Juno”- despite throwing comic curveballs frequently (I think this movie had me when Ellen Page’s Juno said “pork swords”)- uses pregnancy to delve deep into the psychology of its’ main character- the choices to be made, the emotions that are experienced, the growth that can occur- instead of just skimming the surface. If I weren’t so damn certain about the 10 films currently on my Best films list (which I stand by proudly), this would be on there in a heartbeat.
Ellen Page earns herself an automatic invite to the Oscars with her funny and touching turn as Juno, a 16-year old with a history of unsavory “shenanigans” behind her who gets pregnant after sleeping with friend Paulie Bleeker (“Arrested Development’s” Michael Cera with his 2nd terrific big-screen performance this year after “Superbad”). At first she considers abortion, but the secretary at the front desk of the clinic (who tries to push her to use blueberry-smelling condoms) and a friend from school who’s protesting outside (who tells her that her baby has fingernails) help push her to have it. Her best friend Leah (the sassy Olivia Thirlby) helps push her to give it up for adoption, leading her to Mark (“Arrested’s” Jason Bateman, deadpan funny and painfully disillusioned) and Vanessa (Jennifer Garner, sensational as a woman desparate for motherhood), who haven’t been able to have a child themselves and placed an ad in the Penny Saver next to the exotic birds (Desparately Seeking Spawn). But as always seems to happen in life, things don’t quite work out the way you’d expect.
Page- who caught people’s attention last year with her chilling turn as a pedophile hunter in “Hard Candy”- hits all the right notes, hinting at the directions the character could go, and staying resolutely the same in personality throughout despite going through dramatic emotional changes (making the final scenes greatly satisfying). Case in point, Juno’s relationship with Paulie, which ends up probably where you expect, but takes a unique way of getting there inspired by a heartfelt talk by Juno’s father (J.K. Simmons, as bitingly funny as his “Spider-Man” newspaper editor but as sympathetic as any loving parent at just the right time). Even a blowout with her stepmother (Allison Janney, ever the scene-stealer) gets down to the sometimes difficult truth of love between parents and children. But you can’t take your eyes off of Page, who commands the screen like a major star, but humble enough to be able to playoff a dynamic supporting cast around her to get to the complicant truths of young hormones (her scenes with Mark have a charge to hints at unfaithfulness). You can’t take your eyes off of her, and you won’t be able to take your eyes (or ears, you’re gonna want to get that soundtrack immediately after) off of “Juno.” It’s an absolute winner.
