Posted on 02/27/2008 7:51:50 AM PST by Mr. Silverback
Note: This commentary was delivered by PFM President Mark Earley.
The following commentary includes details from the movie Juno. Do not read on if you prefer not to read about the film before viewing it.
If Hollywood is any indicator, I think it is safe to say that the pro-life message is making serious headway. Within the past year or two, a string of movies has shown women in a heroic light for choosing to keep their babies. That includes the films Bella, Waitress, Knocked Up, and the most recent surprise-hit, Juno, which just won the Oscar for best original screenplay.
But while there is no denying that such a trend is encouraging, we have still got a long way to go in changing the culture, and the movie Juno perfectly illustrates what I mean.
I recently talked about Juno with a colleague of mine who commented that despite the fact that the movie is being hailed as one of the smartest, funniest movies of the year, she left the movie theater feeling downright depressed. What is so tragic about the film, she commented, is the normalcy of brokenness.
Juno, the title character, is a teenage girl whose birth parents are divorced. Her prickly relationship with her absentee mom is brilliantly expressed by the once-a-year cactus that Juno receives from her mom on Valentine’s Day.
As broken as Juno’s home is, her own relationships are even more fractured. The movie depressingly portrays the casual banality of modern teenage sexuality. Juno finds herself pregnant after a less-than-romantic encounter with a boy named Bleeker, whom she does not even love. Indeed, nothing could be bleaker.
But the brokenness only becomes more pervasive after Juno finds out that she is pregnant. She jokingly contemplates suicide. And she almost goes through with an abortion, but notably—and nobly—decides against it.
Her dad and her stepmom, though supportive, chalk up Juno’s sexual encounter to what kids do when they are bored. Her actions are taken as unfortunate, but normal. The only thing that seems to surprise her parents at this revelation is that Juno was not smart enough to use protection, and that Bleeker was the boy she chose.
When Juno consults the local newspaper to find a childless couple for her baby, Mark and Vanessa seem the perfect fit. But things are not what they appear. When the adoptive family seems on the verge of unraveling, viewers realize Juno’s baby seems destined, one way or another, for a broken home.
Through this movie, we catch a glimpse of a worldview where sex, marriage, children, and even love are treated with utter casualness, stripped of their holy and sacramental nature. There is no sense that it is a gift from God. It is no wonder that this, the surprise comedy of the year, turns out to be a rather depressing reflection of our culture.
Now, although I am not recommending you go see this film, I think we can, nonetheless, be grateful that a film with the pro-life message has won an Oscar.
But here is the point: If cultural attitudes toward abortion can change, why not cultural attitudes toward sexuality and marriage? Think about it. Movie heroines can now decide to bring their babies to term. Is it too much to hope that one day Hollywood might re-discover the sacredness of family, the blessing of children, and the gift of human sexuality within the bonds of a sacramental marriage?
Such a storyline may seem like fantasy, but I say it is a hope worth nurturing—and bringing to term.
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I go to see about 1 movie a year..... I am picky about what I go to the theater to see.
Juno is a good movie.
She never gets out of her sarcastic attitude. She never gives the audience a reason to like her. I thought it was a one joke (I am constantly sarcastic, aren't I funny?) movie. Marginal at best.
They made a movie about Mrs. Bill Clinton?
But now we find the brokeness to be an amusing source of entertainment. We wallow in the vanity of our fallen world. This is not good.
Sarcasm is the lowest form of humor - but somehow feminism and the government-media complex have come to adopt The Sarcastic Woman as a model of female empowerment.
Hence the reason why I will not see this movie. When they make one which shows the hardship of being a teen and having a child, then I might have some interest.
You better not visit England.
Shoe controversies, tats, and exotic dancing notwithstanding, Diablo Cody wrote a powerful (yet funny) script. And even if Diablo, Ellen Page, etal scream from the rooftops that they are all pro-choice, they presented choosing life in a positive, wonderful way.
Perhaps that is how you interpret this movie. I see it as an attempt to normalize poor choices made by our youth. Where are the lessons about making good choices before having to make this kind of choice?
I am intrigued (and haven’t seen the movie yet, but I’ve read about it). A movie where everybody is constantly making bad decisions or is morally bankrupt, but ultimately the mother decides to give the baby life. It’s interesting to me that some in Hollywood keep “choosing life” and these movies are very very successful despite the peripheral nihilism surrounding most of the main characters. Same sort of thing happened with that Knocked Up movie. The pro-life movement should take their wins when they can get them, especially in Hollywood.
Bears repeating.
I do understand what you’re saying, I think. It seems a matter of not making a “bad choice” into a “worse choice”. It’s not optimal, but it is a step in the right direction. I can tell you that I’d rather not have one of my children - son or daughter - be in that situation in the first place, but if it were to happen, there is pain, but long-term good for all, in adoption and life whereas the alternative is pain and long-term damage for all, in abortion and death. We can’t hope to overturn 35 years of cultural acceptance of this barbarism all in one fell swoop.
I do understand what you are saying, and what the earlier poster was saying as well. Having had to deal with both situations as a parent of children who have made poor choices, I fully understand the pain that comes out of such choices.
The pro life message is startlingly clear.
There were a handful of such times where the sarcastic sttitude left her ... and these times are what turned the focus onto the heart of the girl. Whithout these moments - then I would agree with your point.
And, what part would that be? She never once showed the least bit of worry, or care about giving her baby up.
Juno does give her character something to like about her... Me thinks you need to see the movie again.
Which is????
Me thinks you need to see the movie again.
I'd rather have a root canal
She danced with the man who was to adopt her baby, and the implication was that she was looking for love and a relationship that was substantive.
She opened upo her heart to her boyfriend at the end, explaining to him, "I am in love with you."
.
You don't have to like the movie - and it may be bothersome that she didn't show a sense of loss after giving her baby away, but my opinion is that the movie showed how a young girl/woman learned better how the relationships between a man and woman work.... in a good way and in a bad way.
I am not expecting this movie to be a "poster movie" for the pro-life cause, so I was able to enjoy it for what it was.......a coming of age movie, that happened to have a pro-life element in the plot.
She danced with the man who was to adopt her baby, and the implication was that she was looking for love and a relationship that was substantive.
She opened upo her heart to her boyfriend at the end, explaining to him, "I am in love with you."
.
You don't have to like the movie - and it may be bothersome that she didn't show a sense of loss after giving her baby away, but my opinion is that the movie showed how a young girl/woman learned better how the relationships between a man and woman work.... in a good way and in a bad way.
I am not expecting this movie to be a "poster movie" for the pro-life cause, so I was able to enjoy it for what it was.......a coming of age movie, that happened to have a pro-life element in the plot.
Any time people try to grasp something that actually equates with holiness out of Hollywood, they are going to be sadly disappointed.
I was also glad to hear that she keeps her baby, but a friend of mine who saw the movie after I urged her to see it based only on a review by Michael Medved (I have still yet to see it), she said it depressed her terribly.
I think the line about the banality of teenage sex says it all. One can certainly understand how young love can become carried away by passion, but when it’s things like hooking up, and so on, that is, indeed, very depressing.
As always, a good post from Break Point.
Well, it's because of the innocuous but eternally important words by the young girl outside protesting the charnel house who described the baby's nails...a fact that impressed Juno enough to get her out of the abortuary.
OK so it's not the greatest of pro life films...that is still to be made...but I applaud the makers who dared to film this positive story that has influenced lots of young women out there not to kill their babies.
My exact thoughts. If this film were otherwise unwatchable, it would still be worthwhile for perhaps cinema's first recognizably human abortion-clinic protester. Every single other pro-life activist in the entire history of movies and television has been a cardboard cutout, hissing about burning in Hell through missing teeth.
, it would still be worthwhile for perhaps cinema’s first recognizably human abortion-clinic protester.
I am so glad you said that. That mousy little girl who speaks with an accent and says those naive and silly little words performs a MIRACLE! She instigates the preservation of another human being.
That scene alone is worth all the other “problems” with the film.
Sounds lke good stuff to me. You know how you can tell it’s a good pro-life film? Because the libs are now trying to blame it for the Gloucester pact and other teen pregnancy stupidity. They need to take som of the wind out of its sails because it makes them out to be child murderers.
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