Quote:
Originally Posted by Baby Lee
Entertainment is replete with situations where the very STRENGTH of the 'screenplay' is that they're scripting people who are interacting in an unrealistic way. Wes Anderson and Amy Sherman-Pallidino live off that fact.
The art of it is creating a world where you are INTERESTED in how these particular people are interacting. And I think you shortchange the 'art' of the creation of those situations in Juno where people might not be performing cinema verite, but they are interacting in worlds that spark your imagination and resonate nontheless.
The obvious follow up to further explore the space patteau has hypothesized, though, is to ask you and Reaper's opinion of 'Knocked Up.'
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That's a very good question, and one I almost addressed earlier. I remember someone writing a review when it first came out, claiming that no career oriented woman like Heigl would ever go through with that pregnancy. I agree, but I also think that you have to look at the genres that these particular films play in.
Obviously,
Knocked Up does the same kind of skirting of the issue, as the only counterveiling voice comes from Jonah Hill's character, and he's treated as monstrous. That said, the marginalization of his views doesn't really bother me, because that film is only operating as a comedy that morphs into a chick flick at the 100 minute mark (just like all other Apatow movies).
Knocked Up isn't subversive, it isn't trying to be. Most of the time, it's just trying to be a funny vehicle for its stars and for the director's wife.
Juno postulates itself as having a deeper societal message. It broaches these subjects head on with scenes that clearly have an intentional message on the audience (visiting the clinic), not just the flippant remarks of a ne'erdoell stoner.
Both treat pregnancy as a part of the mise en scene, which is reductive, but IMO,
Juno's transgressions are worse for the genre it attempts to place itself in.
YMMV.