Juno (II)

Ce spun cei de la “New Yorker” despre filmul “Juno“:

Working with the director Jason Reitman (“Thank You for Smoking”), the terrific comedy writer Diablo Cody has fashioned a lovely little movie, “Juno,” told entirely from the point of view of a teen-age girl. Juno (Ellen Page), who lives in a suburb of Minneapolis, finds herself in a terrible fix—she’s pregnant at sixteen—and her reaction to her overwhelming new situation is to treat it with the same flip, pop-cult, high-school sarcasm with which she addresses everything else. She goes to the local abortion clinic but finds the place disgustingly casual (they hand out flavored condoms), and she decides to carry the baby to term. Up to this point, all that Juno does, including having sex in a chair with her friend Bleek (Michael Cera), is based on nervy impulse, and Ellen Page, a young Canadian actress, speaks rapidly and irritably, nailing Juno’s lines with easy precision. Looking for adoptive parents, Juno quickly finds what seems to be an ideal couple: the wealthy Lorings, who live in a beige-walled McMansion with furnishings out of an upscale home-decorating magazine. Mark (Jason Bateman), a fortyish composer of commercial jingles, connects with Juno’s taste in rock music and slasher movies, and his wife, the beautiful Vanessa (Jennifer Garner), badly wants to be a mom. “If I could just have the thing, and give it to you now, I totally would,” Juno tells them. She’s a shrewd girl, and very blunt, yet she’s taken in by her own gift for rude comedy, which, as we learn, masks a great deal of uncertainty. When she and Bleek fight, and the Lorings’ marriage begins to fall apart, her cool collapses into bewilderment and tears. Where are love and constancy to be found? Reitman stages Juno’s crisis with great tenderness, and enfolds it in a witty and playful formal frame: the narrative progresses through the seasons, starting in autumn, with the first three corresponding to Juno’s trimesters. The seasons are also punctuated by Kimya Dawson’s plaintively funny songs, and by passing groups of runners from Juno’s high school, including Bleek, whose golden shorts reveal his slender long legs—his best feature, according to Juno. Michael Cera enters a scene like a soft breeze. Tall and mop-haired, he’s so mild it takes us a while to realize how intelligent Bleek is, and how entirely he appreciates Juno’s humor. This couple is younger than the battling Seth Rogen and Katherine Heigl in last summer’s unwanted-pregnancy comedy, “Knocked Up.” They’re not ready for roughhouse in bed or anywhere else. When they argue, they can’t conceal their dismay even as they are winging insults at each other. “Juno” is a coming-of-age movie made with idiosyncratic charm and not a single false note.