Film Analysis: Juno

            Juno, an independent dramatic-comedy from director Jason Reitman, is not just about a high school girl getting pregnant and coping with the consequences. And that's a relief.  Instead, the movie is about an independent, self-aware, spirited teen, Juno, demonstrating strength and clear thinking as she moves in a generally positive direction throughout adolescence. The elegant and relatable story uses many stylized elements of filmmaking --editing, cinematography, and design--so seamlessly that the audience hardly notices them.  Instead, viewers focus on the compelling story and characters.

            The film’s opening puts the audience right into the crux story.  The very first scene focuses on Juno the character.  Skipping, for now, what her social life is like, the world she lives in, and how she's become pregnant, this first sequence puts us into Juno's life at that moment.  A brief flashback and first person voice over tells us what she's thinking, but we don't really know what it means.  The movie is finally kicked into motion by Juno's exchange with a neighbor's dog.  This first scene, though barely a minute long, is great expository filmmaking, and a good example why the film works so well.  The fact that the first thing Juno says is "Hey, shut your gob for a second," shows that she is slightly snarky and cocky, but she's also witty and likable as we see in her other initial mannerisms and interactions.  The opening also sets up the lighthearted feel of the film, which is incorporated throughout the rest of the movie.

            One story element the filmmakers handled well is the relationship between Juno and the adoptive parents, Mark and Vanessa Loring.  The first time Juno meets the couple is filmed with a series of shots of the family minivan driving past impressive-looking houses.  Immediately, we know the difference in the social standings of Juno's family and the Lorings. The juxtaposition of the slightly older battered van to the tall, regal houses tells the audience that the Lorings are a little better off than Juno's family, and the flat angle adds the comedic touch to the sequence.  This socio-economic clash visually continues through the scene as Juno, in jeans and rumpled flannel shirt, greets Vanessa, wearing formal business attire.  At this point, the dialogue and characters, along with the imagery, carries the scene.  Based on traditional flat characterization, we might expect Vanessa to show disapproval of Juno's life, and Juno to feel uncomfortable and defensive in the presence of the household.  After all, Juno has chosen the successful couple to provide the most stable environment for her child as a stark contrast to her own household. Why wouldn't the woman with the perfect house, who will be taking her child, be an obvious antagonist?  However, Juno shows no outward discomfort or resentment and upholds the same fun, sarcastic attitude established earlier.  It almost seems like Juno enjoys causing a little tension; the audience isn't sure how Vanessa will react to Juno.  But again, the film subverts our expectations as Vanessa (though discomforted herself) shows no antagonism towards Juno, and, in fact, remains perfectly kindhearted.

In this scene it's plain that, at the moment, Juno wants to leave her child in the hands of responsible adults, such as Vanessa and Mark, but she herself wants little to do with the cleanly-maintained lifestyle of this neighborhood.  We see Juno’s personal rejection of this appropriate and responsible lifestyle also in her interaction with Vanessa's husband Mark.  In contrast to Vanessa, Mark puts forth a casual image, and thus garners Juno's initial respect.  In her first private interaction with Mark, Juno assumes that he has come to check on her on Vanessa's command. Their relationship evolves into a friendship because Mark, a musician, supported by his wife, is young-at-heart,.  The set design of the movie cleverly makes Mark’s personal space reflect that of a teenaged boy. He entertains Juno with horror movies and retro music banter.  Like Juno at first, the audience admires Mark’s coolness.  Both Juno and the audience initially feel like he fits the role of a parent better than Vanessa.

            The audience largely shares Juno's sentiments towards Mark and Vanessa until one great character moment in the middle of the film.  Further into her pregnancy, Juno grows more conscious of her child's welfare. One day, while at the mall, she spots Vanessa in public for the first time.  Now, more modestly dressed, Vanessa comes off as an actual motherly figure instead of a successful business woman Juno has pinned her to be.  This moment of revelation is captured between Juno's point of view in an elevated position looking down from the top of the escalator at Vanessa, effectively showing Juno's realization of the weight the responsibility that she has in giving up the child and that Vanessa has in taking on the child.  Juno’s respect for Vanessa grows and at the same time her admiration for Mark collapses when she discovers that Mark, even though an adult, is unprepared for parenthood.  His youthful fun turns into immaturity.

Juno has the fidelity to stick with the style developed at the film’s beginning.  Regardless of the provocative subject matter of teen pregnancy, the film is built on actual smart filmmaking, which I would attribute to a strong collaboration between director Jason Reitman and writer Diablo Cody. Engaging the audience through a stylized story and directing actors into complex, rich characters is not easy for a film like this.  Under a different writer or director, the story would probably fall to pieces.

            In the end, Juno is an effective and self-aware film, focused on story-telling and rich characters rather than subject matter necessarily. The film-makers composed a pleasant, light-toned realism by carefully compiling organic scenes. Juno is so enjoyable because of its naturalness and positivity as opposed to the sermon it could have been.

.Barsam, Richard; Dave Monahan. Looking at Movies, Fourth Edition. New York: W.W. Norton and Company, Inc., 2013. Print.

Cody, Diablo.  Juno. n.d. The Internet Movie Script Database. Web. 17 February 2014.

Juno. Dir. Jason Reitman. Perf. Ellen Page, Michael Cera, Jennifer Garner, Jason Bateman, and Olivia Thirlby. Fox Searchlight, 2007. Film.

Juno. 2007. The Internet Movie Database. (IMDB.) Web. 17 February 2014.

“Juno poster.” Photograph. 15 September 2007. Juno. Wikimedia.org. Web. 20 February 2014.

Film Analysis: The Matrix

            The Matrix is a philosophical sci-fi action movie from the Wachowskis.  Released in 1999, the film received widespread acclaim for its intriguing storytelling, its impact on popular culture, and its groundbreaking visual effects. With or without its popularity, The Matrix is still an intelligently made movie, using a variety of effective techniques in lighting, shooting film, and soundtrack.

            One well-known stylistic nuance in The Matrix is the color scheme shift between the Matrix and the real world.  The "fake" world of the Matrix is saturated with green hues while the real world shows a more "complete" palette of colors, though chiefly featuring blue tones.  This creates clear segregation between reality and illusion; the green tone of the Matrix looks sterilized and artificial, as though we viewers are looking through plastic pressed over our faces, but the blue tone of reality suggests that that layer has been pulled away and we're now looking at the truth.  Our eyes immediately pick up the intent, and we feel, from the film’s first scene, as though something is askew.  When we see the contrasting and more natural color tones, we feel much more comfortable. 

            Color is not the only visual clue we're given to distinguish the two worlds.  The filmmakers snuck in other nuances in the shots, though to a more subtle effect.  Many shots within The Matrix enhance the sense of  “outside looking in", by stylistically framing the subject matter or action, filming from angles that couldn’t possibly be from the point of view of characters in that world.  The audience feels "omniscient" while viewing this world; the camera’s deliberate placement in every shot reveals more about a scene than what we’d observe witnessing it on set, showing the character’s stature, their roles’ purpose, or an action’s intent with unreal clarity.  Most of the high and low angles and framing shots are familiar, but, the occasional slow motion effects throw the audience slightly off kilter, and, similar to the lighting, we realize that there's something off about this world.

            Also following the pattern of the lighting, there is a distinct difference in the shooting of the "real world".  Unlike those shots that give viewers the impression of looking into the scene, many of the shots in the real world convey the feeling immersion; flat angles, close ups, stagnant shots, and the occasional POV make the audience feel like a part of this world rather than observers. Though effective, this technique (in my opinion) backfires on the storyline.  The real world is where the audience should get intimate with the characters, and is filmed as such; however, the story that truly intrigues most viewers is in the fake world with the primary antagonist.  This preference isn't just because the mainstream audience wants to watch excessive action; it's more due to the characterization.  We become invested in Neo because we've been watching him from the beginning of his story; we can relate to him because of where he starts (stuck in a strange world with a dead-end job), and we ultimately want to see him succeed in the end of the film.  However, a satisfying arc alone doesn't necessarily mean connectable or likeable characters.  I feel like many viewers feel disconnected from the characters and their interactions in the real world, because they don't really feel like normal people.  Now this could be because of performances, or maybe just another stylistic choice; I don't know because I ain't no movie genius and I'm not a Wachowski either, but I do think this character-building time can feel dry. I agree that it's important to slow down an action movie to get intimate with the characters, and I definitely think the movie benefits from scenes like this. But, I also think the average movie-goer might feel abandoned with the relatively traditional visual composition; the close and personal filming should correspond with characters we can be comfortable and familiar with, and part of the fun of this movie is that it feels weird and unfamiliar.  In the end, these scenes make the movie feel a good fifteen minutes longer than it is.  But again, that's just my opinion.

            Regarding the soundtrack, it is apparent that a fair share of stylistic thought went into the selection of music. Portions of the music highlight a variety of genres, including electronic, dance, and metal; all of which are incorporated with elements of the rebellious and grungy underside of 90's culture.  These choices also tie in to a recurring "analogue versus digital" theme.  The synthesized electronic and techno tracks are used more in the artificial world of the Matrix, whereas the hard rock and metal usually surround Neo when establishing his subversive character in reality.  Playing a more prominent role in the soundtrack is Don Davis's amazing musical score.  These orchestral themes have a strong effect on the film’s nuances.  The rhythmic slamming of metal, for instance, drives most action sequences.  These, along with the accented horn runs, heighten the tension and excitement of the action.  Often, the music continuously builds up in intensity until it "overflows," the theme seems to go into a sort of slow motion; instead of the fast runaway drumming tempo, the horn line falls into some swooping dissonant dynamics, usually to accompany the movie’s "bullet-time".  Those themes are mostly kept to the illusion of the Matrix; with the real world having its own set of more melodic ideas to express the condition of humanity.  When Neo is first brought into the real world, the theme is mournful in tone, but the moment Neo completes his arc and overcomes the adversary, the music grows more heroic and hopeful. 

The Matrix had a profound effect on the sci-fi action genre, by going a little further to be a thinker's movie.  Its influence on modern filmmakers is apparent, and has helped change the ways modern audiences view movies.  Ultimately, The Matrix introduces several unique elements in lighting, filming, and soundtrack that put it beyond a B-grade action movie.

The Matrix. Dir. Andy & Lana Wachowski. Perf. Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, and Joe Pantoliano. Warner Bros. Pictures, 1999. Film.

Barsam, Richard; Dave Monahan. Looking at Movies, Fourth Edition. New York: W.W. Norton and Company, Inc., 2013. Print.

“The Matrix Poster.” Photograph. 28 April 2008. The Matrix. Wikimedia.org. Web. 25 January 2014.

“Rabbit Hole.” Photograph. 2010. The Matrix. Actionmoviefreak.com. Web. 25 January 2014.

“Tank Meets Neo.” Photograph. n.d. The Matrix. Static1.wikia.nocookie.net. Web. 25 January 2014.

Characters Sitting Around Table. Photograph. 25 March 2010. Zoom and Pan: The Matrix. Eatmedaily.com. Web. 25 January 2014.