Celebrating the Miracle of Life Onscreen: Final Draft

What has happened to the good old romantic comedy? Isn’t it all supposed to be about fate and searching for love with a comical twist? Instead, over the past decade or so, humor in films has acquired a different flavor. What was funny in movies such as Clueless and 10 Things I Hate About You is now seen as trivial and stupid. Comedies today have begun to stray from these simple themes, delving into more controversial topics, like pregnancy.

There have been a few recent movies that portray teen pregnancy, addressing an important subject that has remained un-talked about in the past. And it is certainly a brave attempt to drag such a taboo topic out into the open and onto the big screen. Thirty years ago, being a single mother-to-be would have been shameful and hidden at all costs. It is great to see that society has moved on and become open-minded enough to allow pregnancy to sneak its way into Hollywood.

However, while films such as Juno and Saved succeed in bringing necessary attention to a serious and present concern in today’s society, it seems that the issue of pregnancy is treated in an inappropriately lighthearted manner. Perhaps it’s not the best message to be sending to today’s youth that getting pregnant is OK because it happens all the time, and it’s funny! These films fail to exhibit the real, accurate consequences of young motherhood, instead portraying it as an accepted part of life with great comedic potential.

Juno tells the story of a smart-aleck 16-year-old who indulges in sex for the first time just for fun. The film’s protagonist, Juno (played by Ellen Page), coincidentally just “forgets” a condom, thus resulting in a very unwanted pregnancy. Juno is portrayed as a very smart, albeit sarcastic, young woman; she is not the kind of girl who would be irresponsible enough to totally disregard the use of protection. While this negligence might not seem to fit her character, it certainly is convenient in getting her pregnant. And the journey of her pregnancy is comical and treated with witty indifference. The emotional effects of unwelcome motherhood are completely overlooked. Juno practically gives her baby over to a rich, single mother without any qualms. And after this anything but trying experience, everything returns to normal. Juno falls in love, and everyone is happy. She no longer has to worry about a baby interrupting her future because she can go on with her life, as if her pregnancy never even happened. Indeed, her life is the better for it.

While Juno’s denial and seeming carelessness appears funny onscreen, this is not the common reality of teen pregnancy. It seems that the filmmakers want today’s youth to think that the consequences of having a baby don’t really matter, because it always works out in the end. This message is completely ridiculous. Pregnancy and motherhood aren’t all fun and games. And most pregnant teens are not pretty, upper middle class starlets with the love and support of their families. Instead, according to the Guttmacher Institute, unexpected pregnancy is much more common among low-income, unmarried, and minority women. Over past years, rates of unintended pregnancies have declined 20% among college graduates and wealthier women, while increasing 29% among poorer and less educated women. Without the option of abortion, having a baby only lessens these women’s ability to find work and provide for themselves.

Saved strikes a slightly different note, centering around the pregnancy of Christ enthusiast Mary, who might not have had the advantage of a sex ed. class at her Christian school. She gives up her virginity, at Jesus’ bidding, in order to save her boyfriend from the grips of gayness. In return for what she thinks is a virtuous act, she gets pregnant. This crippling burden leads Mary to call her faith into question, spurring her quick descent into sin. While the film pokes fun at Christian fundamentalists’ hypocrisy and closed-mindedness, viewers are left wondering: what about Mary? Because of her religious ties, abortion is completely out of the question; she must go through with it. But she somehow manages to almost completely hide her pregnancy from her mother, who excuses her weight gain, claiming, “I didn’t want her to develop a complex!” And after giving birth, she realizes that having a baby is no burden at all; it is a blessing, as if the spiritual bonds of motherhood overcome all.

Saved raises a good point about abortion. Antiabortion sentiment in the Christian community greatly determines Mary’s choice to keep her baby, and it similarly effects the decisions of young women throughout the U.S. Compared to teens in other countries, young women in the U.S. are much less likely to use protection or opt to have an abortion. Perhaps it is because of religious sentiment, unavailability, or most likely a greater acceptance of young motherhood in today’s society that the abortion rate is the lowest it has been since 1974. While the teen pregnancy rate has also decreased over the past decade, this drastic decline in abortions still means that more young women are choosing to keep their babies and make a lifelong commitment to motherhood.

These films also portray situations in which the mother is the sole decider in her pregnancy. The guilty impregnators are left off-the-hook, perhaps pushed aside for the sake of plot. This depiction is letting guys know that knocking a girl up is no big deal, because ultimately it’s not their responsibility. And this seems to be becoming a more common mindset in today’s youth. While the overall teen pregnancy rate has been steadily declining since 2000, the proportion of unmarried teen mothers has increased dramatically. Young fathers, both in these films and in reality, seem to play too small a role in the future of the very fruit of their loins. Instead, according to the Guttmacher Institute, “teenage women are more than twice as likely as teenage men to be involved in a pregnancy, and nearly three times as likely to become parents.” Instead of treating the father as a dispensable, unneeded part of teen pregnancy, these films need to show guys that they play a significant role and need to take responsibility for their contributions.

Glamorizing teen pregnancy onscreen is certainly not the best way to expose its actual consequences. A realistic portrayal of the more accurate and common socioeconomic and emotional circumstances of unplanned pregnancy would have a much greater effect on how young motherhood is viewed in society. When faced with the cold, hard truth of the issue, instead of the humorous, whimsical idealizations offered by Juno and Saved, perhaps teens will not feel as inclined to go out and do it without protection. While the aims of these films are admirable, their means are not. Using the silver screen to convey messages to the audience can be smart, but not when the viewers are impressionable teens who will eat up anything they see as reality. Leave the lighthearted, unrealistic stuff to the romantic comedies; pregnancy is a big, not-very-funny-after-all deal, which needs to be treated with stifling realism.

For my response this week, I looked at A. O. Scott’s review of Juno from December and how it relates to my final project:

In his review of Juno, A. O. Scott seems to respect the humor that is directed toward the main character’s pregnancy. He writes, “It’s not that Juno treats her pregnancy as a joke, but rather that… she can’t help finding humor in it.” However, Scott fails to recognize what effect this might have on the audience. Are all viewers going to be observant enough to pick up on the irony of Juno’s situation and how her humor reflects on the emotional implications of her pregnancy? Scott describes the film’s writing as having “surprising delicacy and emotional depth.” But while the screenplay may be clever, is it really sending the right message about pregnancy to its audience? Most people may not exactly see Juno’s frank indifference as delicate. Instead, on the surface, she appears completely emotionless, as if having a baby is no big deal. Scott defends Juno’s “jarring” sarcasm, writing that the film evolves “from a coy, knowing farce into a heartfelt, serious comedy.” However, this depth could be possibly lost on most audiences, and portraying, on the surface, a rather apathetic perspective toward teen pregnancy is perhaps not the wisest risk to take.

Seeking Mr. and Mrs. Right for a Baby on the Way

Celebrating the Miracle of Life Onscreen

What has happened to the good old romantic comedy? Isn’t it all supposed to be about fate and searching for love with a comical twist? Instead, over the past decade or so, humor in films has acquired a different flavor. What was funny in movies such as Clueless and 10 Things I Hate About You is now seen as trivial and stupid. Comedies today have begun to stray from these simple themes, delving into more controversial topics, like pregnancy.

There have been several recent movies that portray teen pregnancy, addressing an important subject that has remained un-talked about in the past. And it is certainly a brave attempt to drag such a taboo topic out into the open and onto the big screen. Thirty years ago, being a single mother-to-be would have been shameful and hidden at all costs. It is great to see that society has moved on and become open-minded enough to allow pregnancy to sneak its way into Hollywood.

However, while films such as Juno and Saved succeed in bringing necessary attention to what is becoming a common occurrence in today’s society, it seems that the issue of pregnancy is treated in an inappropriately lighthearted manner. Perhaps it’s not the best message to be sending to today’s youth that getting pregnant is OK because it happens all the time, and it’s funny! These films fail to exhibit the real, accurate consequences of young motherhood, instead portraying it as an accepted part of life with great comedic potential.

Juno tells the story of a smart-aleck 16-year-old who indulges in sex for the first time just for fun. The film’s protagonist, Juno (played by Ellen Page), coincidentally just “forgets” a condom, thus resulting in a very unwanted pregnancy. But can the consequences be completely unexpected? Juno is portrayed as a very smart, albeit sarcastic, young woman; she is not the kind of girl who would be irresponsible enough to totally disregard the use of protection. While this negligence might not seem to fit her character, it certainly is convenient in getting her pregnant. And the journey of her pregnancy is comical and treated with witty indifference. The emotional effects of unwelcome motherhood are completely overlooked. Juno practically gives her baby over to a rich, single mother without any qualms. And after this very trying experience, everything returns to normal. Juno falls in love, and everyone is happy. Indeed, her life is the better for it.

Saved strikes a slightly different note, centering around the pregnancy of Christ enthusiast Mary, who might not have had the advantage of a sex ed. class at her Christian school. She gives up her virginity, at Jesus’ bidding, in order to save her boyfriend from the grips of gayness. In return for what she thinks is a virtuous act, she gets pregnant. This crippling burden leads Mary to call her faith into question, spurring her quick descent into sin. While the film pokes fun at Christian fundamentalists’ hypocrisy and close-mindedness, viewers are left wondering: what about Mary? Because of her religious ties, abortion is completely out of the question; she must go through with it. But she somehow manages to almost completely hide her pregnancy from her mother, who excuses her weight gain, claiming, “I didn’t want her to develop a complex!” And after giving birth, she realizes that having a baby is no burden at all; it is a blessing, as if the spiritual bonds of motherhood overcome all.

What are these films really trying to say about teen pregnancy? Do the filmmakers want today’s youth to think that the consequences of having a baby don’t really matter, because it always works out in the end? This message is completely ridiculous. Pregnancy and motherhood aren’t all fun and games. And most pregnant teens are not pretty, upper middle class starlets with the love and support of their families. Instead, the majority of young mothers are uneducated and poor, and having a baby lessens their ability to find work and provide for themselves. The U.S. has one of the highest teen pregnancy rates in the world. In fact, according to the University of New Mexico School of Medicine, 40 percent of women in the U.S. get pregnant before they turn 20 years old. Over half of these women who keep their babies end up on welfare. Unplanned pregnancy is a problem, not a blessing, and it should be treated as such.

Glamorizing teen pregnancy onscreen is certainly not the best way to expose its actual consequences. A realistic portrayal of the more accurate and common socioeconomic and emotional circumstances of unplanned pregnancy would have a much greater effect on how young motherhood is viewed in society. When faced with the cold, hard truth of the issue, instead of the humorous, whimsical idealizations offered by Juno and Saved, perhaps teens will not feel as inclined to go out and do it without protection. While the aims of these films are admirable, their means are not. Using the silver screen to convey messages to the audience can be smart, but not when the viewers are impressionable teens who will eat up anything they see as reality. Leave the lighthearted, unrealistic stuff to the romantic comedies; pregnancy is a big, not-very-funny-after-all deal, which needs to be treated with stifling realism.

Final Project Proposal

Over the past five or so years, there have been several popular movies that portray teen pregnancy. Films such as Saved, Knocked Up, and Juno bring pregnancy out into the open, addressing a subject that has remained un-talked about in the past. However, while these films succeed in bringing necessary attention to a common occurrence in today’s society, it seems that the issue of unexpected pregnancy is treated in an inappropriately light-hearted matter. These films often depict upper middle class heroines, all of whom have the support of their family and friends throughout their pregnancy. Little attention is paid to how having a baby might affect the future lives of real women. While it is a positive and worthy aim to attempt to exhibit a previously taboo topic onscreen, these films fail to accurately portray the more real and accurate aspects of teen pregnancy. With the movie industry’s false characterization of pregnancy, today’s young women may start to see teen pregnancy as an accepted part of life with great comedic potential, instead of a serious cultural issue.

Canadian Clowns Exhibit Masterful Flair

From the virtuoso playing of traditional baroque to the jazzier, modern sounds of the past fifty years, the brass quintet is never without a varied repertoire of musical styles to choose from. And it seems the always inventive Canadian Brass does its best to test all the limits of its ensemble. Their concert last Saturday at the Miller Auditorium was a showcase of musical expertise and enjoyment, featuring the talents of trumpeter and former Kalamazooer Brandon Ridenour. Everything about their humorous, crowd-pleasing performance screamed creativity, both in their musical artistry and their unique styles and arrangements.

Hailing from Toronto, Ontario, original founders trombonist Eugene Watts and tuba player Charles Daellenbach provide a historical backbone for the group. They have been with the quintet for over 35 years. The ensemble’s emergence in 1970 was a challenge, as the idea of a five-person ensemble of entirely brass was not yet a widespread, popularized musical assortment. However, through their perseverance and genuine love of the art, Canadian Brass has gained worldwide recognition for their pioneer style and character.

More recent members Jeff Nelsen (horn), Joe Burgstaller (trumpet), and Ridenour add their own youthful energy and pop to the more experienced sounds of Watts and Daellenbach. While each member of the group has evident skill, the most striking talent onstage was found in the impeccable, though sometimes strident playing of trumpeter Burgstaller. His sound had depth and presence, making even the most complicated passages seems easy, both in his technique and calm stage demeanor. His confidence and grandiose playing easily stole the show, though the spotlight stayed stuck on the young Ridenour.

Adding to the great talent of the group’s players, the show exhibited a quirky comedic aspect. Entering the stage in black suits and white Adidas tennis shoes, there was an immediate sense of playfulness to the performance. Daellenbach’s jokes kept the audience entertained throughout the show. He even succeeded in bringing what humor he could to Bach’s adaptation of a Vivaldi piece, mentioning smartly “[Bach] was so taken with it, he took it.” His improvised sarcasm was the maple syrup on the musical performance pancake.

However, as the show went on, it seems that the ensemble was so focused on maintaining the audience’s attention that the performance went from energetic and artful to downright silly. Their closing piece was a western opera, titled Hornsmoke, in which Burgstaller danced across the stage in a bonnet and skirt and Ridenour emerged as a “horn-slinging” villain. While this absurd brass opera certainly kept the crowd laughing, the respect earned in the expert playing of previous pieces plunged significantly.

Despite this exaggerated focus on pleasing the audience, Canadian Brass’ performance was a pleasant surprise. The infusion of the experienced skill of the older members and the youthful energy of the newer musicians made this show both impressive and entertaining. Their one-of-a-kind, innovative style breaks the boundaries of the traditional brass quintet and leaves the audience hungry for more.

An Old Phony: A Look at the Works of Joan Crawford

In his article, “Absolute Artifice from a Star of the Old School,” Dave Kehr reviews and critiques the varied performances of old-time starlet, Joan Crawford, in volume two of Warner Home Video’s “Joan Crawford Collection.” Kehr starts out by describing Crawford’s earlier performances as “almost entirely artificial.” He portrays her as “highly self-conscious,” contending that “she is always trying too hard” in her acting.

Kehr goes on to criticize Crawford’s early works, such as “Sadie McKee” (1934), describing her acting as high-nosed and out-of-place. While she is supposed to be playing the part of a servant being brought into high society, Kehr argues that this transformation is understated and that Crawford instead comes across as a “born aristrocrat.”

While Kehr obviously regards this first movie as a disappointment, he regards Crawford’s later works as more artful. However, he tends to commend the films more for their directors, “whose personal styles trump” Crawford’s performance. Kehr does recognize later on that Crawford’s acting progresses over time. While she maintains the image of “the frightened little girl” hidden behind a “brassy façade,” into the 50’s, according to Kehr, with age, “[she] seemed to become more comfortable in her own skin.” Though she became a more down-to-earth actress over time, Kehr recalls her a “great and terrible star” with an “obsessive drive for perfection.”

Absolute Artifice from a Star of the Old School

Drinking Off Marriage’s Hardships

It is amazing what lies and fabrications one invents when faced with the dire reality of life. The Whole Art’s performance of Edward Albee’s play, "Who’s Afraid of Virginia Woolf?" portrays this gap between fact and illusion through the complicated relationship of George and Martha. This topsy-turvy marriage and the complexity of the show’s characters make for an entertaining and thought-provoking production. Despite varying abilities in performance and a simplistic set, this show provides a deeper insight into the destructive reality of love and marriage.

George (played by Richard Philpot) is an aging history professor at a small college owned by his oppressive father-in-law. Though gifted and articulate, George is tortured by his inability to stand up for himself and excel in his position. He is a greatly elaborate character, teetering on the edge of self-ruin. Philpot delivers this deep intelligence with obvious experience and skill. He seems to know just what to do and exactly when to do it when portraying the much afflicted character of George. Philpot is genuine in every aspect of his performance. He appears weary and run-down as he describes his “fall into the vine of service,” and conversely, wildly passionate as he rants, “I’ve been trying for years to clean up the mess I made.”

It may also be the rather poor performances of the other characters that set off Philpot’s expert portrayal of George. Trevor Maher, playing Nick, a new professor at the college, is especially lacking in zeal. Many of his lines seem out of place; they are delivered without enthusiasm and are often inappropriately emphasized. Maher’s movements and speech are stiff and unnatural, exaggerating his T’s and S’s as if warming up to perform an opera. It is not until later in the play, when the characters have consumed a sizable amount of liquor that his performance becomes slightly captivating.

As well as helping the characters to let loose and open up to the audience, the consumption of alcohol plays a prominent role in both the actors’ performances and the plot. The liquor cabinet seems to become the central point in the set and even the entire play. Indeed, as the characters become more and more drunk, the show itself becomes more and more interesting. As the axis of the play, the characters’ drinking comes to determine the pace of the plot. It is easy to say that without this accelerating affect of alcohol, the production would turn into a sober bore.

With this seeming overdependence on alcohol, it becomes more apparent how truly tormented the lives of the show’s characters are. They turn to liquor and even illusion in their attempts to escape from reality. While some of the performances lack effective emotion, the intricate study of relationships in "Who’s Afraid of Virginia Woolf?" exposes a profound look at life and the falsehoods that are created in trying to cover up the truth.