I. What Is It?
This is the story of Jojo (Roman Griffin Davis) and his mother (Scarlett Johansson). Jojo is a young recruit in the Hitler Youth. But when he discovers a Jew (Thomasin McKenzie) hidden in his attic, his whole world view will be called into question.II. Timely and Timeless
Waititi's film offers us a reminder of the necessity and power of empathy. Jojo is nearly lost to the absurd hate of Nazism, but empathy brings him back from the brink. His mother's loving example and the humanizing effect of actually meeting a Jew spark kindness and understanding in Jojo that is sharply at odds with the propaganda he's been ingesting in the Hitler Youth, undergirded by the presence of Jojo's imaginary friend, Adolf Hitler. Love really is the only thing that can defeat such hate, and Waititi has crafted a film that illustrates that beautifully.
One of the film's great strengths is its ability to toe the line between absurdity and profundity. In the film's opening, we get a chilling juxtaposition of Beatlemania and the spread of Nazism: a German-language version of "I Want to Hold Your Hand" plays over clips of Nazi propaganda films and cheering, adoring crowds. It's an incredibly effective way to set up the film's themes of hero worship and mob mentality by subverting one of the most incredible pop cultural touchstones of the modern age. In the age of Hitlermania, it is completely believable that Jojo, an otherwise loving and heartfelt young boy, would fall in with the Hitler Youth. Good people were swindled into this hate, and it is important to understand that. It's also important to understand that they didn't see themselves as the bad guys.
The film pokes fun at the absurdity of Nazi hate, but refuses to turn its eye away from the reality of that hate. Jojo's mother takes him to the town square where they see the hanging bodies of enemies of the state. Jojo attempts to look away, but his mother makes him look. We have to look. We have to see. Yes, we can laugh at how ridiculous it is to believe that Jews are demonically possessed machines of filth and greed, but we need to see that that hate was real. It had consequences. People died because of it. While the world of Waititi's film lives firmly in the technicolor fantasy of a young boy's idealized Germany, there are brief flashes of ugliness that spoil the vision. And by the time the bombs are dropped in this idyllic setting, and the tanks roll in, all of the color and fantasy and idealism have been bled out. Jojo is left wandering the streets of his town, bodies strewn in the rubble, as his world is torn down around him. The starkness of that sequence stands at odds with the way that the world is presented earlier, and it is incredibly affecting.
Davis is all heart and joy as Jojo. His arc is well-realized and committed to. We get to see the ways the Hitler Youth appealed to young boys. Ultimately, Jojo finds his heart again and watches Nazism destroyed around him, but the film's final act offers us a glimpse into what could have been Jojo's fate. The people of his town are nearly all killed: in explosions, or summarily executed by American troops. If Jojo hadn't have met that young Jewish girl, he could have been that kid running at American troops with a grenade strapped to his back; he could have been that loyal soldier wading into a hail of bullets at the side of his commander; he could have been one of those SS officers paraded through the street to a back-alley where they would receive a bullet in the head. And that journey plays out in Davis' eyes as he watches all of that hurly-burly. The kid is an incredible talent, and the movie rests firmly on his shoulders.
Thomasin McKenzie's performance is sure-handed and mature. Her tragedy plays in sharp contrast to the fact that she is still very much a child, even though she's done more growing up than Jojo.
Scarlett Johansson gives an Oscar worthy performance as Jojo's mother. She indulges his playful fancy, and encourages his spirit. But all the while the loneliness of raising a boy on her own in the hateful environment of Nazi Germany simmers just under the surface. Johansson plays the quiet, hidden tragedy of Rosie with grace and confidence.
The film is bolstered with a litany of capable ensemble players, too. Stephen Merchant is deliciously evil as an Gestapo officer; Rebel Wilson is all mad-cap stupidity as a local Nazi official; but it is Sam Rockwell that shines as Captain K. He does what he does best: he brings humanity to a deeply unlikeable person and challenges the viewer to sympathize with this man.
And that's to say nothing of Waititi's turn as Imaginary Friend Hitler. Waititi balances boyish silliness with inspired terror. He runs through the woods with reckless abandon as easily as he rails against the Jewish problem in a passioned monologue. Waititi's voice is pitched with puckish fun, and drips with acidic hate in equal measure. It is a bit of an absurd gamble, but Waititi plays it to perfection.
- It is a vital message about the redemptive power of empathy and the dangers of otherization.One of the film's great strengths is its ability to toe the line between absurdity and profundity. In the film's opening, we get a chilling juxtaposition of Beatlemania and the spread of Nazism: a German-language version of "I Want to Hold Your Hand" plays over clips of Nazi propaganda films and cheering, adoring crowds. It's an incredibly effective way to set up the film's themes of hero worship and mob mentality by subverting one of the most incredible pop cultural touchstones of the modern age. In the age of Hitlermania, it is completely believable that Jojo, an otherwise loving and heartfelt young boy, would fall in with the Hitler Youth. Good people were swindled into this hate, and it is important to understand that. It's also important to understand that they didn't see themselves as the bad guys.
The film pokes fun at the absurdity of Nazi hate, but refuses to turn its eye away from the reality of that hate. Jojo's mother takes him to the town square where they see the hanging bodies of enemies of the state. Jojo attempts to look away, but his mother makes him look. We have to look. We have to see. Yes, we can laugh at how ridiculous it is to believe that Jews are demonically possessed machines of filth and greed, but we need to see that that hate was real. It had consequences. People died because of it. While the world of Waititi's film lives firmly in the technicolor fantasy of a young boy's idealized Germany, there are brief flashes of ugliness that spoil the vision. And by the time the bombs are dropped in this idyllic setting, and the tanks roll in, all of the color and fantasy and idealism have been bled out. Jojo is left wandering the streets of his town, bodies strewn in the rubble, as his world is torn down around him. The starkness of that sequence stands at odds with the way that the world is presented earlier, and it is incredibly affecting.
III. Crackerjack Cast
Throughout his work, Waititi has proven a keen ability to work with young actors. The performances of Roman Griffin Davis and Thomasin McKenzie are exemplars not just of their players' abilities, but of Waititi's eye for directing young people.Davis is all heart and joy as Jojo. His arc is well-realized and committed to. We get to see the ways the Hitler Youth appealed to young boys. Ultimately, Jojo finds his heart again and watches Nazism destroyed around him, but the film's final act offers us a glimpse into what could have been Jojo's fate. The people of his town are nearly all killed: in explosions, or summarily executed by American troops. If Jojo hadn't have met that young Jewish girl, he could have been that kid running at American troops with a grenade strapped to his back; he could have been that loyal soldier wading into a hail of bullets at the side of his commander; he could have been one of those SS officers paraded through the street to a back-alley where they would receive a bullet in the head. And that journey plays out in Davis' eyes as he watches all of that hurly-burly. The kid is an incredible talent, and the movie rests firmly on his shoulders.
Thomasin McKenzie's performance is sure-handed and mature. Her tragedy plays in sharp contrast to the fact that she is still very much a child, even though she's done more growing up than Jojo.
Scarlett Johansson gives an Oscar worthy performance as Jojo's mother. She indulges his playful fancy, and encourages his spirit. But all the while the loneliness of raising a boy on her own in the hateful environment of Nazi Germany simmers just under the surface. Johansson plays the quiet, hidden tragedy of Rosie with grace and confidence.
The film is bolstered with a litany of capable ensemble players, too. Stephen Merchant is deliciously evil as an Gestapo officer; Rebel Wilson is all mad-cap stupidity as a local Nazi official; but it is Sam Rockwell that shines as Captain K. He does what he does best: he brings humanity to a deeply unlikeable person and challenges the viewer to sympathize with this man.
And that's to say nothing of Waititi's turn as Imaginary Friend Hitler. Waititi balances boyish silliness with inspired terror. He runs through the woods with reckless abandon as easily as he rails against the Jewish problem in a passioned monologue. Waititi's voice is pitched with puckish fun, and drips with acidic hate in equal measure. It is a bit of an absurd gamble, but Waititi plays it to perfection.
IV. Gorgeous
This movie is beautiful. Mihai Malaimare Jr.'s photography is lush, and vibrant. It captures both the whimsy of boyhood, and the terror of imminent war. The art direction shines: this town bursts off the screen in vibrant colors, and the costuming is inspired and detailed.
All of it is in service to Waititi's brand of whimsical filmmaking. And it all works.
His vision is stunningly rendered. Expect some love for this film come awards season.
All of it is in service to Waititi's brand of whimsical filmmaking. And it all works.
His vision is stunningly rendered. Expect some love for this film come awards season.
Why You Should See It
- The cast is incredible, serving hilarity and pathos in equal measure.
- It is absolutely beautiful to look at.
- It's 108 minutes, which feels just right for a feature.
In Conclusion
Miscellany
- Taika Waititi is of mixed Maori/Jewish heritage. He thought playing Hitler was a "big fuck you to the guy."- Waititi considers this movie a love-letter to single mothers, and intended it to honor his own mother.
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