Juno has a hamburger phone in her room, and we also see the same exact phone in Bleeker's room. The phone symbolizes the connection between the two characters, but also their disconnection, how though they have the same mode of communication, they aren't communicating with each other for a majority of the film. We don't see them truly come together until the very end.
Juno goes into the abortion clinic and a classmate from her school tells her that her baby already has a heartbeat and fingernails. This information doesn't pierce through Juno as she enters the clinic, but it seems to give her pause. However, while she's filling out her form she takes heightened notice of all the fingernails in the waiting room—tapping, scratching and picking. She leaves the clinic immediately. Thus, fingernails symbolize the baby's humanity in Juno's eyes, and serve as a reason for her not to get an abortion.
Orange Tic-Tacs in the Mailbox (Symbol)
Early on we see Bleeker pop an orange Tic-Tac in his mouth just before he and Juno sleep together. It's a minor detail that's recalled throughout the film, and Juno tells us that orange Tic-Tacs are Bleeker's "one vice." When Juno decides that she is in love with Bleeker at the end of the film, she and Leah fill his mailbox with 100 containers of orange Tic-Tacs, which come pouring out the next morning when he opens it. In this instance, the Tic-Tacs symbolize Juno's love for Bleeker and the fact that she knows him so well. They serve as an "olive branch," a plea for forgiveness, and a profession of love.
The Chair (Symbol)
The very first shot of the film is of Juno staring at the armchair in which she and Bleeker had sex. It is a symbol of her lost virginity as well as her pregnancy; a moment of ecstasy, but also a mistake. She stares at the chair while chugging Sunny D, and considers her mistake. When she tells Bleeker she is pregnant, she sets up camp in the chair on his front lawn, again using it as a symbol of the fact that that brief sexual experience led to a much larger and more dramatic situation.
At the end of the film, we see the baby's nursery at Vanessa's house, with a rocking chair in one part of the room, and Juno tells us that "it ended with a chair." Thus, the symbol shifts. At the beginning, the chair symbolizes the conception of the baby, the unintentional pregnancy, the teenaged mistake. By the end, the chair in the nursery represents the baby's future happy life with Vanessa as its mother; thus, it represents stability, adoption, love, and care.
When Juno first meets Mark, she finds his room filled with guitars. A consummate punk and misfit, Juno is impressed with Mark's collection, and with his stories of having once been a punk rocker. The guitars that Mark owns represent how much he has in common with the young Juno, even though he is an adult man and she is a 16-year-old girl. The guitars, relegated to a "man cave" room in the large house, also symbolize the ways that Mark feels pent up in his relationship to Vanessa. He wants to be a rocker more than he wants to be a father, and eventually he disappoints both Vanessa and Juno by revealing that he doesn't want to be part of the baby's life. The guitars represent both the interests he shares with Juno as well as the way he is a disappointment to her.
Juno Questions and Answers
The Question and Answer section for Juno is a great
resource to ask questions, find answers, and discuss the novel.