Women’s Rights in Juno

“About 553,000 American girls aged 15 to 19 become pregnant each year, and most of these pregnancies are unplanned” (Etaugh and Bridges). I chose Juno because I was fascinated by the overall general concept of the movie that revolves around the pregnant teenage girl. Her teenage pregnancy during secondary school doesn’t sound like it would be very prominent, however, most commentators and viewers evaluated it tremendously. My sister had discussed Juno frequently, yet I would never find the opportunity to watch the movie until I got this assignment.

The general theme of Juno demonstrates the positive side of feminism. While women’s liberation can generally be related to the concepts of pro-abortion, pro woman, anti man agendas, Juno revolves around a lady’s entitlement to choose, autonomy and fairness and women’s rights.

At high school, the pressure of being fit and liked by the peers are at the peak. Being pregnant in high school could be a bad dream for any high school teenage girl. After being pregnant, Juno doesn’t get devastated or insists the world is ending like stereotypical pregnant teenagers are constantly represented in the media. Rather, she calls her closest companion who refers her to a woman’s clinic for an abortion. In spite of the fact that Juno makes the arrangement and strolls into the clinic without anyone else, she begins to consider the two choices. In the event that she has an abortion, she can return to high school with nobody other than herself, the child’s dad, and her closest companion realizing she was pregnant. However, Juno picks, all alone, to keep the child. She could have kept the infant and turned into a high school mother, yet Juno recognizes her potential failure to bring the child up in her present circumstance.

Benevolently, she chooses to give the child to a family who can’t have a kid individually, without requesting anything consequently, aside from that these new parents love her child well. During the entire tribulation, Juno obviously shows her development, her quality, and the significance of the decision. This film doesn’t favor one side for an abortion or pro-life, yet rather hardens the possibility that a woman’s body is her own. The decision for an abortion is her own. The decision to leave the abortion clinic and keep the child is her own. The decision to give the child to another family to receive, is her own. These choices are Juno’s entitlement to make. Juno’s parents let her select, however, they attempt their best to give her all that she requires for her pregnancy and keeps her safe while meeting the adoptive parents.

All through the movie, Juno never neglects to remain consistent with herself. The audiences see her stay consistent with her fashion sense that will dependably be outside the standard. Juno keeps her language and clever tongue, dependably breaks jokes, particularly when unseemly, and stays solid willed. She has a decent head on her shoulders and however, generalizations talk about how inept it is for somebody to get pregnant in high school, the author relates it to the character of the general population rather than a dumb demonstration. Juno is canny and thoroughly considers all choices before settling on how to manage the infant.

Juno shows the issues a pregnant youngster manages, including the generalizations, and suppositions others anticipate onto them. While getting her first ultrasound, Juno imagines she isn’t apprehensive and endeavors to remain unattached by covering her feeling with her run-of-the-mill jests and jokes. The ultrasound expert pries into Juno’s life until Juno discloses to her that she’s giving the child away to another couple. “Oh thank goodness for that.” Promptly, the specialist (ultrasound technician) makes a decision about Juno’s life, despite the fact that she’d scarcely quite recently met her. The technician accepted that the child must be in an ideal situation in another person’s hands, despite the fact that Juno had her mom and closest companion, an unmistakable emotionally supportive network directly with her. The professional had no clue whether the new parents were positive or negative, however, she consequently accepted she knew best for Juno and her infant.

The scornful and obnoxious looks that Juno gets while strolling down the school lobbies was sufficiently awful to make me need to escape from the screen. An organization secretary at the high school gazed at Juno’s belly judgmentally while writing her a pass. Conversely, there’s no reaction to Michael Cera’s character, Paulie. The main notice of Juno’s child to Paulie was from another kid on the track group. “Did you hear Juno was having a baby? Did you hear it was yours? What a trip man.” He at that point continued to keep running off like it was a typical day. There were no ramifications for Paulie, and all the more vital no judgment despite the fact that he got her pregnant. In principle, both Juno and Paulie have the likelihood of getting to be guardians and should share a square with duty in the youngster’s prosperity, however rather most, if not all, of the obligation arrives at Juno.

Jennifer Garner’s character, Vanessa is the lady who needs to receive Juno’s baby. To start with, the film writer’s attempts to exhibit Vanessa as oppressive, extraordinary, and mentally disturbed. In any case, as the story line advances, unobtrusive indications show up telling the viewers that Vanessa is doing a large portion of the work for her family while Jason Bateman’s character, Mark, skates by. While Vanessa is grinding away throughout the day, Mark can be seen playing music, watching motion pictures, and even whines to Juno about how Vanessa needs him to tidy up around the house.

At the point when Vanessa approaches Mark for his contribution with any issue in regard to the child, he is far off and unhelpful. In our book, we talked about that it is feasible for a lady to have an effective vocation and be a decent mother just if her better half is strong and helps as well. Their marriage exhibits this predicament in a sensible situation. Vanessa works throughout the day and returns home to fix their home and prepare for the child. While Mark is very relatable and his fantasies of performing near my own, he’s stuck previously and unfit to look toward the future outside of his own. Rather than adding to the marriage, Mark secures himself, his room and play music or watch movies. This leaves Mark to pick either his marriage, or his dreams of what life ought to be, and Vanessa to pick her marriage or being a mother.

Intuitively, Vanessa starts to hate Mark for not needing a child as seriously as she did. She needed him to be as energized as she was for an infant and when he would, she is able to censure him for their absence of a kid. In any case, this situation just pursues the social generalization that a lady needs a man to have a child. Before the end of the movie, Vanessa refutes the generalization by choosing to receive the infant and raise him as her own, without Mark’s help. Her fantasies constantly included having a child, thus she was resolved to go accomplish it.

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