film essay on juno

No wrong scenes, no extra scenes and characters you want to hug

Ellen Page is Oscar-worthy as "Juno."

Jason Reitman’s “Juno” is just about the best movie of the year. It is very smart, very funny and very touching; it begins with the pacing of a screwball comedy and ends as a portrait of characters we have come to love. Strange, how during Juno’s hip dialogue and cocky bravado, we begin to understand the young woman inside, and we want to hug her.

Has there been a better performance this year than Ellen Page ‘s creation of Juno? I don’t think so. If most actors agree that comedy is harder than drama, then harder still is comedy depending on a quick mind, utter self-confidence, and an ability to stop just short of going too far. Page’s presence and timing are extraordinary. I have seen her in only two films, she is only 20, and I think she will be one of the great actors of her time.

But don’t let my praise get in the way of sharing how much fun this movie is. It is so very rare to sit with an audience that leans forward with delight and is in step with every turn and surprise of an uncommonly intelligent screenplay. It is so rare to hear laughter that is surprised, unexpected and delighted. So rare to hear it coming during moments of recognition, when characters reflect exactly what we’d be thinking, just a moment before we get around to thinking it. So rare to feel the audience joined into one warm, shared enjoyment. So rare to hear a movie applauded.

Ellen Page plays Juno MacGuff, a 16-year-old girl who decides it is time for her to experience sex and enlists her best friend Paulie ( Michael Cera ) in an experiment he is not too eager to join. Of course she gets pregnant, and after a trip to an abortion clinic that leaves her cold, she decides to have the child. But what to do with it? She believes she’s too young to raise it herself. Her best girlfriend Leah (Olivia Thirby) suggests looking at the ads for adoptive parents in the Penny Saver: “They have ‘Desperately Seeking Spawn,’ right next to the pet ads.”

Juno informs her parents in a scene that decisively establishes how original this film is going to be. It does that by giving us almost the only lovable parents in the history of teen comedies: Bren ( Allison Janney ) and Mac (J.K. Simmons). They’re older and wiser than most teen parents are ever allowed to be, and warmer and with better instincts and quicker senses of humor. Informed that the sheepish Paulie is the father, Mac turns to his wife and shares an aside that brings down the house. Later, Bren tells him, “You know, of course, it wasn’t his idea.” How infinitely more human and civilized their response is than all the sad routine “humor” about parents who are enraged at boyfriends.

Mac goes with Juno to meet the would-be adoptive parents, Vanessa and Mark Loring ( Jennifer Garner and Jason Bateman ). They live in one of those houses that look like Martha Stewart finished a second before they arrived. Vanessa is consumed with her desire for a child, and Mark is almost a child himself, showing Juno “my room,” where he keeps the residue of his ambition to be a rock star. What he does now, at around 40, is write jingles for commercials.

We follow Juno through all nine months of her pregnancy, which she pretends to treat as mostly an inconvenience. It is uncanny how Page shows us, without seeming to show us, the deeper feelings beneath Juno’s wisecracking exterior. The screenplay by first-timer Diablo Cody is a subtle masterpiece of construction, as buried themes slowly emerge, hidden feelings become clear, and we are led, but not too far, into wondering if Mark and Juno might possibly develop unwise feelings about one another.

There are moments of instinctive, lightning comedy: Bren’s response to a nurse’s attitude during Juno’s sonar scan, and her theory about doctors when Juno wants a pain-killer during childbirth. Moments that blindside us with truth, as when Mac and Juno talk about the possibility of true and lasting love. Moments that reveal Paulie as more than he seems. What he says when Juno says he’s cool and doesn’t even need to try. And the breathtaking scene when Juno and Vanessa run into each other in the mall and the future of everyone is essentially decided. Jennifer Garner glows in that scene.

After three viewings, I feel like I know some scenes by heart, but I don’t want to spoil your experience by quoting one-liners and revealing surprises. The film’s surprises, in any event, involve not merely the plot but insights into the characters, including feelings that coil along just beneath the surface so that they seem inevitable when they’re revealed.

The film has no wrong scenes and no extra scenes, and flows like running water. There are two repeating motifs: the enchanting songs, so simple and true, by Kimya Dawson. And the seasonal appearances of Paulie’s high school cross-country team, running past us with dogged consistency, Paulie often bringing up the rear, until his last run ends with Paulie, sweaty in running shorts, racing to Juno’s room after her delivery.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Michael Cera as Paulie Bleeker
• Allison Janney as Bren MacGuff
• Jason Bateman as Mark Loring
• Ellen Page as Juno MacGuff
• J.K. Simmons as Mac MacGuff
• Diablo Cody

Directed by

• Jason Reitman

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“Juno” and the Art of Growing Up: a Film Analysis

This essay about “Juno” examines the film’s exploration of coming-of-age themes and adolescent identity through the story of its titular character, Juno MacGuff. It discusses how Juno’s unexpected pregnancy triggers a journey of self-discovery, highlighting the film’s nuanced portrayal of teenage life, choices, and relationships. The essay praises “Juno” for its authentic depiction of complex issues facing adolescents, such as pregnancy and the formation of unconventional families, while also addressing the societal pressures and expectations on teenagers. It explores the dynamics between Juno and other characters, particularly the evolving relationship with adoptive parent Vanessa, to showcase the multifaceted nature of human connections that contribute to Juno’s growth. Concluding that “Juno” offers a poignant, insightful look into the realities of growing up, the essay underscores the film’s contribution to understanding adolescence, emphasizing its ongoing journey rather than a definitive endpoint.

How it works

“Juno,” the lauded cinematic creation helmed by Jason Reitman and penned by Diablo Cody, has solidified its position among the elite in the realm of coming-of-age narratives. Through its distinct amalgamation of wit and emotional depth, the film plumbs the depths of adolescence, identity, and the intricacies inherent in the journey to maturity. This discourse probes into how “Juno” navigates the tempestuous seas of teenage selfhood and development, offering profound insights into the ubiquitous rite of passage known as coming of age.

At the epicenter of “Juno” resides its eponymous protagonist, Juno MacGuff, brought to life with captivating authenticity by Ellen Page. Juno’s unforeseen pregnancy serves as the catalyst for her odyssey of self-exploration and evolution. Unlike the typical teenage personas depicted in cinematic lore, Juno is neither overly idealized nor condemned for her decisions. Instead, the film presents her with a nuanced lens, acknowledging her intellect, humor, and vulnerability. Juno’s resolve to carry her pregnancy to term and facilitate adoption is depicted with sincerity and reverence, underscoring the film’s empathetic treatment of the multifaceted challenges confronting adolescents.

“Juno” excels in its portrayal of the myriad relationships that shape Juno’s voyage. From her interactions with the father of her child, Bleeker, to her rapport with the prospective adoptive parents, Vanessa and Mark Loring, the film unveils the intricate tapestry of human bonds. These relationships, laden with their trials and triumphs, contribute to Juno’s evolving self-awareness. Particularly noteworthy is the dynamic between Juno and Vanessa, which evolves from skepticism to mutual esteem and fondness. This connection underscores the film’s exploration of family, not as an immutable construct, but as one forged through choice and empathetic understanding.

Moreover, “Juno” traverses the landscape of adolescent identity with acute perceptiveness regarding the pressures and expectations foisted upon teenagers. Juno’s unconventional handling of her predicament challenges societal conventions and prompts viewers to reevaluate preconceived notions about teenage pregnancy and maturity. Through its portrayal of Juno’s resilience and self-determination, the film champions the agency of adolescents in navigating the trajectories of their lives and bodies.

Furthermore, “Juno” tackles the theme of maturation with a candid authenticity, eschewing clichés and facile resolutions. The film acknowledges that the journey to adulthood is not a linear progression but a labyrinthine odyssey punctuated by moments of doubt, growth, and self-realization. Juno’s character metamorphosis, from a sardonic adolescent to a young woman cognizant of the gravity of her choices, encapsulates this metamorphosis. The film’s denouement, which finds Juno and Bleeker united yet confronting an uncertain future, mirrors the veracity that maturation is an ongoing expedition rather than a finite destination.

In summation, “Juno” emerges as a poignant and insightful exploration of the themes of coming of age and adolescent identity. Through its engrossing narrative, finely etched characters, and contemplative examination of teenage existence, the film proffers a poignant and enduring portrayal of the trials and triumphs inherent in the journey to adulthood. “Juno” not only captivates but also enriches our comprehension of adolescence, inviting introspection on the complexities of identity, relationships, and the passage to maturity.

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Why We Should Celebrate 'Juno' For Its Complex Portrayal Of A Teenage Girl

From the instant audiences are introduced to the movie's lead character, it's clear that Juno 's portrayal of teenagers is a little different than most. Swigging from an oversized carton of Sunny D and arguing with a drug store cashier about her third pregnancy test of the day, Juno MacGuff is forthright and confident, but also willfully obnoxious. As the movie progresses, however, we're slowly able to determine that there's more to this 16 year-old girl beyond her overly-hip witticisms and propensity to annoy. Juno offers a complex portrayal of a teenage girl caught between the carefree naivety of childhood and the hellish responsibilities of her burgeoning adulthood. In dealing with her surprise pregnancy, she's forced to navigate a mature road with a childish compass, and she chooses to make that journey almost completely on her own.

" In Juno , the movie is not about pregnancy ," screenwriter Diablo Cody once told The Writers Digest in 2008, "pregnancy is the location." As a result, we see the lead character on a journey to that location, and it's one that's less about teen pregnancy than it is about her encountering how awkward, painful, and difficult the process of becoming an adult is. As a result, Juno's character is portrayed as a multifaceted teenager and one who, though immature, is also incredibly smart and self-sufficient. Juno's pregnancy, though it ushers the narrative along, is more of a reflection of the character's own growing up process, offering a timeline within which we witness her childish naivety mature into the responsibility filled wisdom of adulthood. And we see that portrayed in manners rarely offered to female teenage characters in movies.

For instance, when we see Juno's alarmingly cool disclosure of her pregnancy to her best friend Leah, or her inappropriately playful announcement to the baby's father, Paulie, Juno feels like an immature 16 year-old girl. She even makes an appointment for an abortion using an unreliable novelty phone that barely serves it's purpose. Where the character begins to grow, however, is in how she immediately assumes responsibility for her pregnancy from that point onwards and makes smart decisions regarding it that feel right for her. Regardless of whether Juno 's treatment of abortion is problematic or not, (she feels pressured to opt out of the procedure by a anti-choice school friend protesting outside the clinic) it's emboldening to see a young female character maintaining autonomy over the life of her child, nonetheless.

It's incredibly inspiring, for instance, to see how Juno already has a well-thought out and researched plan in place for herself, and the baby, by the time she's ready to announce her pregnancy to her parents. The character has the foresight to not only settle upon adoption as a solution for her unwanted child, but to have also actively sought out the parents she wants to raise it and to have figured out how they will cover her medical costs. From the start, her need for self-sufficiency in all aspects of her pregnancy is clear. And though she doesn't want to keep the baby, she does want to maintain control over all dealings concerning it until it's birth.

Juno pointedly tells her parents that she wants nothing from them except for "mercy," regarding the pregnancy, and also rejects an offer from Vanessa (the adoptive mother) of additional financial compensation for the child. Juno seems intent on traversing this journey with as much self-reliance and autonomy as possible, and that includes only accepting the bare minimum of support for it. Her confident, direct approach to making these decisions, including rejecting her step-mom's concern that adoption may be tougher than a 16 year-old girl could possibly fathom, is seriously refreshing to see in a teenage character. And it makes the rest of her character arc all the more compelling for it. Because as we check back in with Juno over the course of three changing seasons, we see her undergo some life-altering changes that aren't merely physical.

Though Juno is experiencing a difficult and major life event, she regardless appears on the surface as though she has it all together. She's organized, taking care of herself, and refusing for her pregnancy to change her life too much, and in those respects she seems fairly mature for her age. But then, as suggested by the twee folk soundtrack that softens every scene with an optimistic sweetness, Juno's naivety and immaturity are still active beneath the surface of that facade. And it's exactly these qualities that lead to events which cause her to have a small meltdown on the side of the freeway towards the end of the movie.

There's the way she pushes Paulie away as a boyfriend, despite his clear interest in her, before getting angry at him for attending prom with the girl she recommended he date. And there's also the way that she rejects her step-mom's assertion that Juno can't be friends with Mark (the baby's immature, adoptive father) because he's a married man with boundaries that she's too young to fully understand. Thankfully, Juno figures out that Mark has crossed those boundaries and isn't deserving of her friendship (or her child), and that she's actually madly in love with Paulie. "I just need to know that it's possible that two people can stay happy together forever," she tells her dad after Mark reveals that he's divorcing Vanessa, sounding like a little girl desperate to know that fairy tales aren't fictional.

But, sadly, they are. In real life, those fairy tale endings often require a lot of work, pain, and heartbreak to acquire. And you could argue that Juno's realization of this fact is the true resolution of the movie, more important than her eventually giving birth. Vanessa takes Juno's baby back home and is a proud, beaming mother. But Juno's true gift to Vanessa is in urging her that she can raise the child alone, and without Mark, just as Juno contended with the pregnancy of the child as a single woman, too. In accepting the challenges of life, and knowing that she can now deal with them herself and on her own terms, Juno discovers her own sense of identity and agency as a young woman. And that's a powerful denouement to see on screen when similar movies might have opted to focus singularly on the birth of the child being the main achievement of the plot. In Juno , that wasn't the case.

"I don't know what kind of girl I am," Juno tells her dad at the start of the movie, when he crushingly comments, "I thought you were the kind of girl who knew when to say when." By the end of the movie we can see exactly what sort of girl she is: She's smart, driven, self-sufficient, and most importantly, capable of dealing with life on her own terms and without apology. And just how many female teen movie characters can you say that about?

by Jason Reitman

Juno study guide.

Juno was a groundbreaking film at the time of its release in 2007 for many reasons. Its frank and un-precious depiction of teen pregnancy was witty and crowd-pleasing; the screenplay, by newcomer Diablo Cody was laugh-a-minute while also maintaining a soulful gravity; and the performance of its lead, Ellen Page was acclaimed as honest, authentic, and funny.

Page stars as the eponymous Juno, a precocious teenager who, with the help of her classmate and best friend Paulie Bleeker (Michael Cera), gets pregnant. After having last minute doubts about an abortion, Juno decides to carry through with her pregnancy and looks to find a couple willing to adopt her baby. Complications, drama, and hilarity ensue when Juno's pregnancy and the adoption go through quite a few trials and tribulations.

Upon release, the film was met with widespread critical acclaim. Roger Ebert wrote of the film, "[ Juno ] is just about the best movie of the year. [...] Has there been a better performance this year than Ellen Page's creation of Juno? I don't think so." The film garnered four Academy Award nominations and grossed over $230 million on a $7.5 million budget, cementing its legacy as one of the most financially successful independent films of all time.

Juno Questions and Answers

The Question and Answer section for Juno is a great resource to ask questions, find answers, and discuss the novel.

Your question is from the film?

different experiences in pregnancy (Female vs Male)

Although Juno is confused over her pregnancy, she always has a voice and is free with her emotions. The father of Juno's child, as well as Juno's best friend and long-time admirer, Paulie is a sensitive, gentle, genuinely caring, but timid soul....

I'm not sure what is typical respnse to a pregnancy would be. I think Juno is a unique individual: that is the main attraction to the movie. an outspoken, witty sixteen-year-old with a clear rebellious streak. She can come off as abrasive because...

Study Guide for Juno

Juno study guide contains a biography of Jason Reitman, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• Juno Summary
• Character List
• Director's Influence

Essays for Juno

Juno essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Juno by Jason Reitman.

• Ethical Matters in the Film Juno
• Womanhood and Family: Challenging Cultural Values in Juno

Wikipedia Entries for Juno

• Introduction

I Just Rewatched Juno — Here's How It Holds Up In A Post- Roe World

Some critics have deemed the film anti-choice, but it's a bit more nuanced than that.

Let's go back in time to late 2007, when a fictional precocious pregnant teen named Juno won over the hearts of moviegoers everywhere. I was the exact target demographic for the Oscar-winning indie hit, as I'd just finished up my first semester of freshman year at a liberal arts school filled with Juno MacGuff-like hipsters when it hit the big screen.

Though I never quite had her signature tongue-in-cheek vocabulary or an unplanned teen pregnancy to contend with, I was curious to see how Juno holds up now that it's as old as the teen characters in the film, particularly with regards to how it handled abortion — especially in a post- Roe world , when safe and equitable abortion access is becoming increasingly unavailable to patients across the country.

A Quick Recap

Juno stars Elliot Page as the titular character who finds herself unexpectedly pregnant at 16 after one awkward sexual encounter with her crush, Paulie Bleeker (Michael Cera). She opts to have an abortion at first, changing her mind when she crosses a fellow classmate protesting at the abortion clinic proclaiming that "All babies want to get borned!" The classmate also tells Juno that her baby has both a heartbeat and fingernails — despite knowing nothing about how far along Juno is in her pregnancy — prompting her to run out of the clinic before having the procedure done.

With the support of her best friend, Juno tells her dad and stepmom (J.K. Simmons and Allison Janney) that she's planning to give the baby up for adoption and has found the perfect couple, Mark and Vanessa (Jason Bateman and Jennifer Garner — side note: I'd forgotten how stacked with talent this movie is).

Vanessa clearly longs for a baby, but Mark's apprehension becomes apparent pretty quickly. Without spoiling a movie 16 years after its release, the ending is unexpected, heartfelt, and more sugary than the massive jug of Sunny Delight Juno downs at the start of the movie to make herself pee for multiple pregnancy tests.

Cultural Touchpoints

Though teen pregnancy has been a topic in movies and TV shows for decades, it's worth mentioning the point in culture at which Juno was released in order to understand the framework set by the story. Juno came out six months after Knocked Up — which famously didn't even offer abortion as an option for the pregnant lead character — and on the heels of shows like The Secret Life of the American Teenager and 16 and Pregnant , which ranged from thinly veiled pro-life messaging (the former) and exploitative voyeurism (the latter).

Coincidentally, the moral panic of teen pregnancy hit a fever pitch the week of Juno's theatrical release. Days before the movie's premiere, Jamie Lynn Spears, then 16, announced she was pregnant with her first child, ushering a tabloid frenzy that dominated headlines for months. At the time, the teen pregnancy rate in the U.S. was also on the rise , making the film culturally relevant in more ways than one.

The Test of Time

If you can get past the fact that Juno is aggressively 2007 in its styling, quirky-by-design dialogue, and painfully twee soundtrack, what remains is a hilarious and heartfelt coming-of-age story worth revisiting in present-day times.

That said, there's plenty of cringe, including a xenophobic remark: Juno telling her prospective adoptive parents they "should've gone to China" because "they give away babies like free iPods." There's also some casual slut-shaming, such as when Juno's (mostly) well-meaning dad tells her he didn't think she was "that kind of girl." Her ultrasound technician also slut-shames her, but Juno's stepmom and best friend swiftly come to her defense.

The film also doesn't adequately address the predatory vibes given off by Mark, the prospective adoptive father, who hits on 16-year-old Juno pretty heavily every time he's not under the watchful eye of his wife. Mark is treated as the villain in the story, but not for hitting on a child — instead for being an unsupportive husband.

The Abortion Question

As for how the film handles abortion, it seems up for interpretation. One could argue that Juno exercised autonomy over her body by choosing to carry out her pregnancy and fulfill the dreams of someone longing for a child. You could also argue that she decided to go ahead with her pregnancy not of her own free will but out of fear after what her protesting classmate said to her at the clinic. Of course, Juno would be an entirely different film if she had gone through with an abortion.

All in all, it's an incredibly realistic portrayal of how a teenager might feel in the face of an unexpected pregnancy: overwhelmed and easily swayed by the messages they're receiving from those around them. The scene at the abortion clinic is also painfully accurate — the M.O. of pro-life protesters is to be coercive and manipulative towards pregnant patients who might be in an incredibly vulnerable state.

Elliot Page and Diablo Cody's Thoughts

In 2022, Juno marked its 15-year anniversary. In separate interviews, Page and Diablo Cody, the film's screenwriter, reflected on their experiences and how they feel about it now. Page told Esquire that he felt uncomfortable around the film's release due to his gender dysphoria, and that being forced to wear dresses at promotional events "literally did almost kill" him.

Page acknowledged that "people, especially teenage girls, really responded to" the character of Juno, adding, "I wish I could go back and experience it now. As me."

Cody is less forgiving in her reflection, telling The Hollywood Reporter she "never intended the movie as any kind of political statement at all." At the time, it simply had never occurred to her that her "reproductive rights could be in danger."

"I am emphatically pro-choice and have been my entire life. And it is important to me to make that clear," she added. "I can understand why people would misunderstand the movie. Looking back at it, I can see how it could be perceived as anti-choice. And that horrifies me."

She continued, "Back in 2008, I got a letter from some administrator at my Catholic high school thanking me for writing a movie that was in line with the school's values. And I was like: 'What have I done?' My objective as an artist is to be a traitor to that culture, not to uplift it."

In fact, it was Cody's Catholic upbringing that inspired her to write the abortion clinic scene, but she said "the last thing I would ever want is for someone to interpret the movie as anti-choice. That is a huge paranoia of mine."

Though Cody herself might not revisit the film, it certainly has re-watch value if you need a hefty dose of saccharine nostalgia. Here's hoping the complexities of abortion and unplanned pregnancy can continue to be tackled in a way that is sensitive to the topics and understanding of the nuances, without shame or judgment, no matter someone's choice. (And yes, every pregnant person should have the freedom to choose what they do with their own body, no matter what certain lawmakers think.)

I also still kind of want a hamburger phone , so there's that, too.