Hi all, Ross Lincoln here, after a long absence. This post is a product of a desire Greg and I have expressed for some time, of using his fine blog as a means to hash out some of the debates we have from time to time (and a product of my desire to swear in public. Hooray!) In a bit of Sportsmanship, Greg’s opted to let me go first, so here it is, the first in what I hope will be many such arguments between Greg and myself.
Today’s topic:
Is there a disturbing pro life bent in certain recent popular movies, or am I perhaps reading too much into things?
In a totally unsurprising coincidence, given that we’ve already lived in previous years through both Armageddon and Deep Impact, and both Capote and Infamous, there were two different comedies about pregnant women in 2007. Here are my short and to the point reviews:
Juno: I really like this movie. Aside from some way-too-witty-for-its-own-good dialogue in the first half, and an annoyingly undeveloped love story that felt tacked on even though I know it wasn’t, it’s actually a really sweet movie with really interesting characters and some goddamned great dialogue (even if the dialogue is just a little too too for part of it.) I especially like the depiction of people with very high intelligence, who are still of normal emotional maturity for their age, which is to say, very emotionally immature. Also, I totally have a crush on Michael Cera.
I’m kidding about that, I swear. But you have to admit that when you hear that very thought expressed by almost every girl you know, it becomes seductively mantra-esque.
Knocked Up: Knocked up is an extremely crappy movie. There’s really no other way to put it. It really sucks. My opinion of this movie has declined significantly in the months since I first saw it, and I left the theater annoyed and let down. I can’t say if it’s the movie’s many deep flaws, or if it’s having endured hearing so many people, people who really should know better, telling me that it was the funniest movie they’d seen in years (an experience identical to the aftermath of Wedding Crashers, by the way. God, that movies sucks too.) All I know is that I only kind of liked it last spring, and after months of reflection, I might now hate it.
Yes, I know Seth Rogan is hilarious. No argument there from me. Yes, I know the interaction between the stoner friends is “funny,” if you happen to think obvious jokes about people too high to think straight haven’t been done to death. And yes, I know there are some really funny jokes. And yes, I agree that the treatment of the relationship between Paul Rudd and Leslie Mann is kinda of good.
But look - even if a tropical archipelago composed of beautiful island paradises, each island filled with sexy genders-of-your-choice hotties, suddenly popped up in the middle of a lake in the Chernobyl Zone of Exclusion, it wouldn’t change the fact that you’re surrounded by miles and miles of uninhabitable, deadly radioactive shit.
The thing is, the movie isn’t called “Wacky Stoner Pals!”, or “Well Meaning Yuppie Couple Examines Their Marriage.” Its called Knocked Up, and the two things the movie needed to get right, namely the character development of the woman with the titular condition, and the relationship between her and the man who helped make her intractably titular, it totally didn’t get right.
In other words, Seth Rogan and his wacky stoner pals? That’s the archipelago. The rest of the film? That’s the exclusion zone. And the film’s unnecessary sexism and frankly, it’s crypto right wing bent when it comes to pregnancy? That’s the nuclear power plant.
Which brings me to the subject of Abortion, which both films, by simple fact that they’re about pregnant women who don’t live in the 50s, had to address. To help me in this discussion, I’ve invited an incredibly convoluted allegory to explain things.
Imagine, if you’re still with me, that the funduhmentalist book censorship advocates grew tired of staged book burnings and woe-is-me appeals to local School Boards, and started blowing up libraries and shooting librarians instead. Pretty cool, huh?
Now, imagine further that these same fanatics, and their nonviolent allies (who somehow remain suspiciously nonjudgemental of the frequent violence committed to advance the cause,) demand total fealty from their political party, to the extent that anyone running for office on that party’s ticket has to promise, or at least strongly allude the promise, that if elected, they will support SCOTUS justices who advocate the repeal of the first amendment, just to have a chance of being considered for the nomination.
Do you think, if my little imaginary world were real, that we would be obligated to speak respectfully of these people, treating their insane ramblings as being motivated purely by morality? And would this portrayal be opposed, natch, to the capriciously secular ethics of sophisticated, elitist Librarians?
“Sure,” we might hear, “the cosmopolitans might technically be right about the law, and sure, they have a point about access to information being a necessity for life in a free state, but we all know that they’re entirely motivated by a selfish desire to read whatever they want, sometimes just for the pleasure of reading itself!”
“Therefore,” I’d anticipate hearing, “whatever the technical rightness of their position, they ultimately fail to understand the unique morality of those whose faith motivates them to a higher calling, which just so happens to be the negation of basic rights and freedoms for the majority of the nation. Which we have to respect because their opposition to freedom of thought is motivated, as we’ve seen, by a morality I think we can all agree is superior to the suspect motivations of the Secular Elites in the Library Industry.”
Or words to that effect.
Here’re the questions I really want to get to:
1) In this over-allegorical little world, do you think that, in a movie where the subject of easy access to learning and information cannot be avoided, there would be tremendous pressure from punditry, from advocacy groups, even from inside the studios themselves, to make absolutely certain that the pro-censorship people are not offended?a
2) Would we have to see the pro censorship position treated with kid gloves, its advocates and beneficiaries, if they’re shown at all, portrayed universally as basically decent, well meaning goofballs?
3) At the same time, in any instance where the the opposite view is espoused, would librarians or people who support the Librarian position have to be portrayed as intolerant, morally bankrupt, high minded jerks, or as shallow, self centered sociopaths?
I don’t know what your answer to these convoluted questions are, but you’ve probably guessed that my answer to each is an intolerant, morally bankrupt, high minded “yes”.
Or at least, it is if the depiction of abortion in movies can be used as an accurate predictor.
Which brings us back to Juno, and to Knocked Up.
In the blog entry on Pandagon that inspired me to write this post here, more than one person mentioned Fast Times at Ridgemont High. For those who aren’t interested in seeing that terrible, awful movie, there’s something in it that you would never see today, not for all the money in moneyland.
No, not Judge Reinhold in a hit film. HI-OOO!
One of the characters gets pregnant and decides to abort. Well, really not so much “decides” as “makes what the movie clearly implies is the only reasonable option, considering her age and means.” She isn’t punished in any way for having the abortion, there’s no tender moment where we’re subjected to her crying for the snowflake she’s killing, no scene where the guy realizes HIS child is gone. It’s just treated as a thing. Not a fun thing, not an easy thing, not a thing she undertakes lightly, but definitely not a thing about which she should feel guilty about in any way. In other words, a consequence-free abortion.
It’s self-evident why that could never happen today.* And I’m not suggesting that either Juno or Knocked Up should have had an abortion. They’re about pregnant women. Pregnant women need to be somewhat “keeping my baby” or there’s no movie. But there are plenty of ways to deal with the abortion question without running out of the room, story-wise, screaming ‘EW EW ICKY POO HELP!”
Juno at least acknowledges that Abortion is actually something to consider, and that there are these things called “clinics” where people go to have them administered. The moment she learns she’s pregnant, she does what most sane women in her position (high school aged, not fabulously wealthy, doesn’t feel ready for parenthood) would do, and immediately declares her intention to terminate. Obviously we know she’s not going to, but it’s the extremely jolting way she decides not to that really sticks in my craw.
I have no idea what went on behind the scenes but my understanding is that Diablo Cody, the writer, sold the script with a 40 page spec and developed it with a script doctor prior to filming. Maybe the way it happens was borne out of necessity, in order to keep the film’s running time down to manageable length, but it’s almost as though she was ordered to avoid any suggestion whatsoever that abortion might be a positive decision.
If you haven’t seen it, here’s what happens (SPOILER ALERT):
On the big day, Juno heads over to the local Clinic (”Women First,” IIRC) where out front, there’s a lone christian standing in the cold, wearing suspiciously thrift store chic winterwear. It turns out Juno knows Lone Christian from school and they have an awkward chat, wherein Lone Christian, a lovably awkward ABA, nervously begs her not to go through with it, admonishing Juno that the fetus likely already has fingernails as Juno nonchalantly disregards her and goes in.
Inside, Juno encounters the following:
* A vapid, disinterested, idiotic receptionist who clearly doesn’t give a single shit about Women, nor consider them to be First. She says inappropriate things and, while talking to Juno about the way the clinic’s condoms flavor her boyfriend’s “junk,” answers the phone with a monotone tribute to Janine “Ghostbusters, Whatayawant?!?” Melnitz.
* A dimly lit, coldly decorated interior that feels about as welcoming as a Bail Bondsman’s office.
* A group of fellow patients who bear expressions suggesting they’re trying out for the scarlet letter awards.
* A brief, ironic montage of fingernails reminding Juno and the audience that her baby has them too!
For those of you keeping time, that’s all in the space of roughly 5 minutes.
The combination of (subtle, but very apparent) guilt and unwelcoming ambiance pushes Juno to make her narratively necessary decision, and she runs out without saying a word. As she flees into the parking lot, the camera lingers sympathetically on Lone Christian Girl, who endearingly shouts after Juno, in an earnest, high pitched voice, “Jesus thanks you for this choice!**”
Now I admit that my experience with Planned Parenthood and other choice providers is limited, though I do have some. And in my (admittedly limited) experience, choice facilities are clean, respectful and surprisingly comfortable places to be. One thing my (admittedly limited) experience doesn’t include is a bitchy, idiotic receptionist, a brutal, cold aesthetic, and a room full of Hesters hoping to god that Reverend Dimmesdale doesn’t up and tell everyone the truth.
On the other hand, I do have considerable experience being around Pro-Lifers, and one thing I can tell you is that the vast majority of them are not super cute, well meaning (and just south of stylish) goofballs. Yes yes, there are a few well meaning pro-lifers out there who, much like Juno’s, really are basically decent human beings trying to do what they feel is right, and treating their subjects (Women seeking Abortion) with respect. But the simple fact is, and I say this knowing that I’m damning a lot of people by association, such well meaning people are usually outnumbered 100 to 1 by belligerent assholes who seem to think the best way to convince a woman not to have an abortion is to call her a whore, preferably with a hint of violence in their voice.
Now maybe, as Diablo Cody imagined it, it was a slow day and the Pro Life Fanatics went to the creation museum for the afternoon, but for me the scene felt false. I can only speculate, but in my mind, either Diablo is pro life, or she was “encouraged” to truncate the scene, and to make the pro lifer as sympathetic as possible. But who knows, right?
Even so, as oddly jarring as the scene was, it still wasn’t nearly as noxiously offensive as the treatment of Abortion, or “smushmortion,” as it was cowardly referred to, in Knocked up.
Knocked up made more money than Richard Roberts during pledge week, so I assume you’ve seen it. But in the interests of thoroughness, in Knocked up, there are exactly two very curt discussions of Abortion; the combined running time of both scenes is somehow less than half of the aforementioned scene in Juno, and they’re both so unreal as to approach broad satire, if not outright science fiction.
The first, where Seth Rogan tells his friends about the pregnancy, is only retarded, it isn’t really annoying. I buy his friends supporting him if he’s decided to be with her and help raise the kid. Obviously, because my friends would do the same and I hope, given similar circumstances, that I would too. But I guarantee you that in reality, every single one of them would be thinking it, and at least one would ask outright if she’s going to terminate. I guarantee you further that they wouldn’t use a wussified little baby euphemism like “Smushmortion.”
That’s right folks, apparently, America’s ready to see Seth Rogan’s (implied) erection, a casual depiction of a booze-fueled one night stand, constant illegal drug use and an all-up-in-the-camera close up shot of a fully dilated ready-for-birthing vagina***, but somehow we’re still t0o meek and delicate to hear grown adults, in a comedy about fuuuckin’, use the word “Abortion.”
And did I mention that while pot is still a very illegal intoxicant, Abortion remains, for the time being, safe and very legal?
But hell, using such a baby little word, in a rated R movie no less, is bad enough. Compared to the second scene that refers to abortion, it’s practically a 1970s movie.
I’m referring to the scene where the Pro-Choice position is actually articulated. Only, instead of articulated, I mean “offensively slandered,” because the only character who actually suggests, outright, what every single sane, non funduhmentalist in the audience is thinking, you know, how maybe Katherine Heigl ought to at least consider a smushmortion, does so in one of the most offensive slurs against the Pro Choice position I have ever seen.
How else can you characterise Katherine Heigl’s bitchy, ’sophisticated’ mom telling her she should just abort, like one of her relatives did, because “then you can have a real baby later!”? (Never mind that she goes to her mom first. For the record, half of my female friends, and my girlfriend, as I am writing this, call bullshit on that little detail.) Do I even need to say that the average Pro Choicer doesn’t actually think about the world, or birth control, in disturbingly eugenicist terms? Do I even need to mention that the reason Pro Choicers call it “Choice” is because we support the freedom to choose, including the freedom to choose to keep the goddamned baby?
Instead, we get the only character in the movie suggesting abortion making the pro-life position out to be essentially selfish and utterly morally bankrupt. Now I know there are plenty of people out there who might have abortions for reasons that personally make you uncomfortable, but if you don’t have the fucking balls to come out and declare yourself against sexual freed- I mean, in favor of sweet precious life(!), maybe it might not be necessary to look like you’re defaming the vast majority of the likely audience of your fucking movie. You know?
And that’s what’s really bugging me. There is no moment where Katherine Heigl’s character, despite her recent promotion, burgeoning successes and obvious incompatibility with the babydaddy, seriously considers an abortion. Again, I know the movie is called Knocked Up, and therefore she needs to have the baby. But getting me, the viewer, to that point shouldn’t require insulting my intelligence, not to mention my morals.
As I see it, both films could easily have portrayed the decision to Abort as a reasonable choice. They could have depicted planned parenthood (and similar organizations) as they really (usually) are - organizations staffed by dedicated professionals who really are risking their lives to help secure a constitutional fucking right - and still provide a funny scene in which Katherine Heigl pulls a “Papa Don’t Preach,” or Juno convincingly decides to have the baby instead of abort it - without making their decision an obvious sop to the pro life crowd.
Maybe it’s simple the artistic vision of both movies, (each quite obviously aimed at a decidedly non funduhmentalist viewership by the way,) that they opted to present the issue in terms as favorable to pro-lifers as possible, but I think it’s a sign of our times, and I suspect it’s not going to get better.
Thoughts?
* Speaking of things we’d never get away with today, I want to pour one out for Better Off Dead. Imagine someone today trying to make a lighthearted romantic comedy where the central running joke is that the main character is constantly foiled in his attempts to kill himself, and a secondary running joke involves his best friend’s pathetic attempts to score drugs in a suburban wasteland that has absolutely nothing seedy about it whatsoever.
** Or words to that effect. I can’t quite remember the exact line.
*** I don’t consider any of these things to be bad, incidentally. Just like I don’t consider a discussion of Abortion to be bad. Hell, bring on the full frontal Seth Rogan. Kidding, kidding!
My turn. -Greg
Dude, lighten up. It’s a movie.
First of all, I can’t believe you’d write a book-length post about movies that would be improved by a realistic depiction of abortion without mentioning “Look Who’s Talking”. If there was any movie that could be improved by a trip to Planned Parenthood…
I agree with you about the pro-life movement, but I think you’re being a little obsessive when you accuse a comedy of having a “crypto right wing bent” just because it doesn’t line up perfectly with your political leanings. As I wrote about Knocked Up last year :
I’m pretty sure they didn’t cover this because abortion isn’t funny. When you’re making a comedy, having a scene in which a pregnant woman agonizes over whether or not to have a baby is sure to be a laugh-killer.
It’s interesting that you bring up “Fast Times at Ridgemont High”, because that movie and “The Last American Virgin” are perfect examples of what I’m talking about. In both movies, the decision to have an abortion is treated with care and it brings the movie to a screeching halt. For movies that are supposedly comedies, these scenes are incredibly unpleasant to watch.
Neither Juno or Knocked Up are documentaries, nor were they made to advocate a particular political position. Their purpose is a entertain people. Of course, that’s not a conclusion you seem to have even considered. The bulk of your post seems to believe that the scripts were deliberately watered down. Are you really so angered by the abortion clinic scene in Juno that the only two possibilities you can imagine are “either Diablo is pro life, or she was ‘encouraged’ to truncate the scene”?
Even if their respective makers are adamantly pro-choice, if there’s a conflict between treating the decision to keep a baby in a thoughtful and realistic manner or making the audience laugh, the filmmaker’s allegiances should lean towards the latter. I’m not necessarily saying that these two choices are mutually exclusive, but if you’re convinced that agonizing over whether to have an abortion can be funny, I look forward to reading your screenplay.
Moving onto Knocked Up, I also think you’re overreacting :
I’m referring to the scene where the Pro-Choice position is actually articulated. Only, instead of articulated, I mean “offensively slandered,” because the only character who actually suggests, outright, what every single sane, non funduhmentalist in the audience is thinking, you know, how maybe Katherine Heigl ought to at least consider a smushmortion, does so in one of the most offensive slurs against the Pro Choice position I have ever seen.
How else can you characterise Katherine Heigl’s bitchy, ’sophisticated’ mom telling her she should just abort, like one of her relatives did, because “then you can have a real baby later!”?
You did realize that part was a joke, right? That line was supposed to sound callous and heartless, thus the humor. Most of the people in the theater laughed when I saw it, though I suspect they didn’t view the scene as Judd Apatow’s subtle attempt to subvert Roe v. Wade.
Going back to what I was saying about entertainment being more important than politics in a comedy…
There is no moment where Katherine Heigl’s character, despite her recent promotion, burgeoning successes and obvious incompatibility with the babydaddy, seriously considers an abortion. Again, I know the movie is called Knocked Up, and therefore she needs to have the baby. But getting me, the viewer, to that point shouldn’t require insulting my intelligence, not to mention my morals.
Insulting your intelligence? Hell, The Graduate ends with Elaine running off with the creepy guy who fucked her mom and ruined her wedding. Sometimes when you go to the movies you have to suspend a little disbelief.
As an aside, what’s up with this statement?
Never mind that she goes to her mom first. For the record, half of my female friends, and my girlfriend, as I am writing this, call bullshit on that little detail.
Ummmm…my sister is pregant and went to our mom first, so let me “call bullshit” on the fact that women don’t confide in their mothers.
Reading your takedown of these movies, I was constantly struck by the rage and bitterness you have towards people you disagree with :
On the other hand, I do have considerable experience being around Pro-Lifers, and one thing I can tell you is that the vast majority of them are not super cute, well meaning (and just south of stylish) goofballs. Yes yes, there are a few well meaning pro-lifers out there who, much like Juno’s, really are basically decent human beings trying to do what they feel is right, and treating their subjects (Women seeking Abortion) with respect. But the simple fact is, and I say this knowing that I’m damning a lot of people by association, such well meaning people are usually outnumbered 100 to 1 by belligerent assholes who seem to think the best way to convince a woman not to have an abortion is to call her a whore, preferably with a hint of violence in their voice.
What is this based on? Since you admittedly have “limited” experience with Planned Parenthood, where are you seeing this 100 to 1 assholes to well meaning pro-lifer ratio? The internet? Church? Work? It seems to me that if you spent more time with people you disagree with (besides people who piss you off at work) you might start to realize that a lot of otherwise decent people hate abortion. Just like not every homophobe is Fred Phelps, not every pro-lifer is the caricature you make them out to be.
If you truly believe that Juno and Knocked Up “present the issue in terms as favorable to pro-lifers as possible”, then I’d suggest that the movies did a horrible job of pandering to the fundamentalist crowd. Two of the highest rated movies of 2007 are about women who have unprotected sex and decide to have a baby out of wedlock, yet neither film treats the characters like promiscuous nymphs. They’re just normal people who accidentally get pregnant and make the choice to keep the baby.
Also, both movies are also funny as hell.