Cultural differences shape how we see the world—and what we value.
Is Juno a good movie?
In the East, with its understated plot, diary-like storytelling, simple sets, and straightforward cinematography, it'd probably just scrape by as "okay."
But in the West? Juno fever went way beyond anyone's expectations!
At nearly every screening, the audience leapt to their feet, clapping loud and long when it ended.
It's kind of like how Eastern viewers might find Manchester by the Sea dull, while Westerners—especially North American film buffs—watch it and cry their eyes out. Even Bill Gates apparently sobs every time he sees it.
Juno is a small story that nails the vibe of every North American kid's youth—their mindset, their memories.
It's a f** killer!
A nostalgia killer too!
After a limited release in late December, by January 2002, Juno rolled out across North America full force.
Even Roger Ebert, the big-shot critic from the Chicago Sun-Times, gave it a rare four-star rave in his column: "No question about it—compared to the commercial fluff of A Beautiful Mind, Juno is hands-down the best movie of the past year! Was there a single performance last year better than Natalie Portman's Juno? I don't think so."
But this movie? It's not just a movie.
It's the first film from Rose Pictures—and a feminist one at that!
Music critic Jim DeRogatis didn't hold back, slamming its symbolism hard: "As a veteran feminist, a dad to a girl about to hit her teens, a reporter who talks to real kids all the time, and an old-school movie nerd—I hate! Hate! Hate this film!"
Why? Simple. Juno treats pregnancy and abortion so casually it's a slap in the face to older generations' values.
The abortion debate even escalated into a full-on war of words!
Public opinion in the U.S. split hard into two camps—Pro-Life and Pro-Choice.
Pro-Life folks oppose abortion, saying the baby should be born.
Pro-Choice folks back abortion rights, arguing it's a woman's freedom to decide.
So what's Juno about?
Obviously Pro-Choice!
But things were spiraling out of control. If the debate dug any deeper, it'd hit constitutional territory.
For Dunn, feminism's just a tool—he's not here to stir up trouble. He stepped in fast, ordering Rose Pictures and the Juno team to zip it. No subjective takes on the Pro-Life vs. Pro-Choice fight—period!
Sure, the film's Juno considers abortion after getting pregnant, but it ends on a happy note—the baby's born safe and sound. It nudges mainstream values a little, then backs off, quietly letting her have the kid.
Dunn even pulled some strings, hiring and rallying film critics to steer the conversation back to the movie itself.
Soon, a new vibe took over the review scene—
Hadley Freeman from The Guardian wrote: "Juno is like a living social emblem, summing up how films in recent years have framed abortion as unreasonable, even unthinkable. But I don't think it's deliberately pushing an anti-abortion agenda."
A.O. Scott from The New York Times put it this way: "Juno has a core theme, and its message isn't so much anti-abortion as it is a brighter take on growing up."
Wesley Morris from The Boston Globe summed it up: "Juno gives smart, cool-headed girls something they rarely get in movies—themselves."
Director Patty Jenkins stepped up to smooth things over too: "It's amazing how both Pro-Choice and Pro-Life folks embrace this film. Juno is a mirror—people from either side can see themselves in it."
---
Awards season usually saves space for artsy films and horror flicks.
Columbia Pictures slotted Black Hawk Down here because of 9/11—its schedule got bumped.
Dunn Pictures, meanwhile, had Resident Evil hitting theaters in January, with Saw II dropping in early February.
Resident Evil was already out, and Dunn had big faith in Zack Snyder's work on it. He was even thinking of letting Zack tackle a blockbuster next—like, say, Ghost Rider!
Right now, Dunn's overseeing prep for National Treasure. The lead, Nicolas Cage, is locked in, and Rose Byrne's set as the female lead. After some back-and-forth with the production team, Ron Howard's been tapped to direct.
But Juno's ripple effect? It's not fading anytime soon.
And then an old-timer finally showed his face—Kirk Douglas!
In an interview with The Hollywood Reporter, he didn't mince words: "Juno isn't about family, love, or respect for life—it's pure feminist propaganda, plain and simple. It's the triumph of the idea that men, especially fathers, are disposable. I bet the people who made this movie have never been parents!"
Dunn saw this coming.
That old guy's real clout kicks in during awards season—he always stirs the pot around this time.
What Dunn didn't expect was Kirk using Juno to take a swing at Natalie Portman—his one weak spot!
Kirk didn't say everything outright, but in the schmoozy, favor-trading buzz of awards season, he let plenty of reckless comments slip in the industry circle.
"Natalie Portman? She's got Jewish blood at best—does that make her Jewish? Her grandma's Gallic! She's waving the Jewish flag to sneak into our circle—it's not happening!"
"Listen to that filthy rap she did on the talk show—pure rebellion! It's a disgrace to the Talmud! She doesn't celebrate Hanukkah—she's all about Christmas. She's cut herself off from the Jewish community!"
"People rave about her Juno performance? Total nonsense! This movie peddles a warped worldview from start to finish—it's a slap in the face to the right to life! No one but God or a judge can take a life—not even a woman! This is murder talk!"
---
"Did I mess up?"
Natalie's back at school now, and she's clearly heard something. Her voice is soft and shaky over the phone.
Dunn chuckles, "You mean Juno?"
"Yeah, I heard about it. My agent, Hilda, told me. Some big shot in Hollywood's pissed at me—says I'm a disgrace to Jewish people."
"What?" Dunn's half-annoyed, half-amused. "A disgrace? That's ridiculous. It's just Kirk Douglas, that old geezer. He's gunning for me, not you. Focus on school—catch up on all those classes you missed. Don't worry about Hollywood."
Natalie's mood's still low. "But I shouldn't have recorded that raunchy rap. It's a target now."
Dunn nearly laughs. "Now you see the mistake?"
"Yeah, I should've talked to you first."
"It's fine—trust me, I've got this handled!"
Natalie hesitates. "But… but it's Kirk Douglas."
Dunn snorts, "So what?"
"Hilda says he's, like, the leader of Hollywood's Jewish crowd. He's got major pull—especially during awards season."
Dunn laughs quietly. "Nat, why do I feel like there's more to this? Are you worried about getting snubbed in awards season?"
Natalie blushes, a little embarrassed. "I read the papers… everyone's saying such nice things about me, how great I was in Juno. I wasn't thinking about winning anything, but a nomination? I think my performance deserves it."
Dunn says calmly, "Don't worry. With me around, no one's flipping the table."
After hanging up, Dunn's face cools. He thinks for a moment, then dials Catherine Zeta-Jones. Chicago's shoot is wrapping up—done by mid-month.
"The old guy's stirring trouble. You know that, right?"
"Yeah," Catherine's voice is hushed, like she's somewhere awkward. "Mr. Walker, about this, I…"
Dunn cuts her off. "I don't want explanations—you don't have any to give!"
Catherine bites her lip. "So, we stick to the old plan?"
Dunn grunts a faint "mm-hmm."
Catherine takes a deep breath, her voice barely a whisper. "Alright, then. Once I'm done with Chicago, I'll set a time—go to Rachel Weisz's place and… give you one go. That okay?"
"One's not enough!"
"Then… I'll clear an afternoon?"
"For now, sure."
As the call drops to a dial tone, Catherine sighs softly, then pouts with a huff. "It's just about fooling around with women—spare me the high-and-mighty excuses. If you're into my body, just say it. I didn't say no!"
She's seen that look in men's eyes too many times.
Every time Dunn looks at her, there's this raw, barely-hidden hunger—like he wants to devour her. No wonder her husband, Michael Douglas, gets so twitchy and hostile around him.
"An afternoon? Hmph! I doubt he's got anything impressive up his sleeve!"
Catherine smirks to herself, but then her phone buzzes with a text from Dunn.
She opens it—and her face goes pale, then flushes red: "Get ready—candles, whip, clamps, nylon rope, vibrator, lube, and whatever else you feel like."
Catherine nearly bites through her lip. "That jerk!"
She fires back quick: "Lube's the max—none of that other stuff, no way!"