Based upon the novel Caging Skies by Christine Leunens
Written and Directed by Taika Waititi
**** (four stars)
RATED PG 13
It always fascinates me to contemplate what the world looks like through the eyes, mind and spirit of a child, especially a world that exists in turmoil. If one were able to purchase a ticket to take a ride through that child's mind and perceptions, how would we find the same visual/societal information that we witness as adults to be interpreted, and therefore, experienced?
That very thought played often through my mind as I screened "Jojo Rabbit," the new film from Writer/Director Taika Waititi, his self-described "anti-hate satire," and what a satire it is. Yes, the film is audacious and fully irreverent in its conception but truth be told, Waititi, did not preset a satire of say, the Stanley Kubrick sense, that devastating cold, and even nihilistic, brick-through-the-window satire. Waititi's film is far gentler in its execution, its sense of moral outrage firmly intact yet quieter in its voicing.
That said, this does not suggest that what Waititi has achieved is anything remotely toothless considering its subject matter. On the contrary, "Jojo Rabbit" is discomforting in its surreal almost hallucinogenic quality but fittingly so as we are indeed viewing World War II, most specifically, Nazi-ism, from a child's eye level. But it is that very strange quality that allows the film to achieve its surprisingly powerful aura of humanity. Taika Waititi's "Jojo Rabbit" is unquestionably one of 2019's most unique, singular films and it is also one of the year's most poignant and poetic.
Set in Nazi Germany near the end of World War II, Taika Waititi's "Jojo Rabbit" stars a wonderful Roman Griffin Davis as Johannes "Jojo" Betzler, a jingoistic 10 year old and aspiring member of the Hitler Youth who lives with his Mother, Rosie (Scarlett Johansson, in one of her warmest performances in years). Jojo's Father, a soldier has gone missing while his sister Inge has recently passed away due to complications from influenza.
Desperate to join Hitler's army, Jojo enrolls into a Hitler youth training camp run by the one-eyed, alcoholic Captain Klenzendorf (the always engaging Sam Rockwell) and Fraulein Rahm (Rebel Wilson, in just the right small doses), yet discovers that he lacks that merciless killer instinct, as evidenced by his inability to murder a rabbit, an event with makes him the target of teasing by his peers thus earning him the nickname contained in the film's title. Furthermore, an accident with a misfired grenade leaves him with facial scars, a slight limp and a lengthy convalescence at home, leaving him lonelier and more isolated than ever.
Jojo's life is irrevocably altered on the day he is shocked by the presence of Elsa Korr (a terrific Thomasin McKenzie), a teenage Jewish girl, as well as a former classmate of Jojo's now deceased sister, hidden within their home by Rosie. The relationship that ensues between Elsa and Jojo, forces the aspiring Nazi to face down his prejudices, all of which have been taught to him by the environment in which he exists, in addition to his growing romantic feelings towards Elsa.
And even then, there is the on-going guiding presence of his imaginary friend, a ridiculous, child-like version of Adolf Hitler himself (played by Taika Waititi).
To a degree, I would not be surprised if there are some of you who are wondering just why do we even need a film like this, especially in the 21st century. That thought certainly crossed my mind here and there before seeing the film. Honestly, do we really have to explicitly state that Nazis are bad in 2019?! I wish that we did not have to but unfortunately, we do not happen to live in that world, and stories that extol the virtues of humanity and tolerance are essentially more urgently needed than ever.
With Taika Waititi's "Jojo Rabbit," we do indeed have yet another parable that explores the world of intolerance, racism and fascism but it is one that is unapologetically absurd. That being said, please allow me to assure you that for all of the humor, which ranges from a certain Monty Python-esque style from physical comedy to playful uses of language ("Heil me!!" the insecure, imaginary Adolf pleads to Jojo at one point), a mischievously frolicsome visual aesthetic, the usage of The Beatles' German version of "I Wanna Hold Your Hand" to rapturously open the film, plus the variety of performances, including the completely endearing work by young Archie Yates as Jojo's chubby, bespectacled Hitler Youth buddy Yorki, whose shared conversations with Jojo suggest a certain "Welcome To The Third Reich, Charlie Brown!!" quality, Waititi never at any moment treats the Holocaust as a joke.
While some may fear it to be, and others may debate its intentions, I never found "Jojo Rabbit" to be distasteful or disrespectful. It is also not presented as a one-joke movie or something akin to some misguided newfangled version of "Hogan's Heroes." Taika Waititi utilizes the humor, again the overall gentle satire, to examine the means of prejudice through the multi-fated, multi-layered lens of viewing the world through the eyes of an impressionable, and therefore traumatized, 10 year old boy. And while being asked to sympathize with a child who wishes to be a Nazi may be too much to ask conceptually, Waititi's sense of empathy is enormous, somehow, almost magically allowing us to view the child first and foremost as a child and not through the evils of a swastika, a technique which does indeed make "Jojo Rabbit" quite a bit of a high wire act, a feat Waititi succeeds miraculously.
Again, please allow me to assure you that Taika Waititi's "Jojo Rabbit" is not, in any way, shape or form, asking of us to see the ruthlessly irresponsible "good people on both sides" argument regarding Civil Rights protesters and 21st century Nazis as uttered by a certain orange tinted reality TV show personality now occupying The White House. But, what Waititi is doing via Jojo is to provide a series of moral quandaries for his young character to experience and wrestle with, while also asking of us to do the same as we explore the shared humanity of every character.
Once the presence of Elsa is revealed in Jojo's home, he is immediately faced with the moral question of whether to turn her over to the Gestapo, for if he does, he will then place his Mother in grave danger because she was the one to hide Elsa in the first place. If he continues to covertly hide Elsa, then his own life, plus the lives of Elsa and his Mother are in danger. Jojo is forced to confront the sheer idiocy of his prejudices against Jews as he is slowly falling in love with Elsa, which even then presents additional moral questions regarding how to treat the one you love with regards to honesty and jealousy.
As Jojo, Roman Griffin Davis is skilled beyond his years as he is required to exude a emotional, psychological and moral depth at the exact point where every perception and belief he ever held is being challenged and ultimately altered forever. Davis beautifully showcases all of the layers of Jojo with tremendous innocence and pathos. As Elsa, Thomasin McKenzie is a superb equal to Davis, as she elicits a strength and terror, which deftly slides from the brightness of romantic comedy to the inherent horror of her life and predicament as she hides in Jojo's home. Their relationship, combined with Waititi's delivery makes "Jojo Rabbit" feel like the midway point between Charlie Chaplin's iconic "The Great Dictator" (1940) and the youthful romance dreamworld of Wes Anderson's "Moonrise Kingdom" (2012).
"Jojo Rabbit" is indeed a coming-of-age film and by viewing the world of Nazi Germany through the perspective of the 10 year old Jojo, Taika Waititi allows his film to posses an almost storybook pastiche, again, an approach that some may question seriously but I feel worked tremendously due to the eyes through which we are viewing the film. Certainly, Waititi is not making a figure like Adolf Hitler a joke by having him exist as Jojo's imaginary friend. On the contrary, it only makes sense that Hitler would be viewed as an imaginary Father figure in the Fatherland, especially as Jojo has no Father of his own to depend upon. And to this particular 10 year old boy, what else would an imagined Hitler be but an extension of his own 10 year old perceptions of the world? And once those perceptions are challenged, then that imaginary friend becomes threatened as Jojo's worldview begins to broaden, change and even upended.
Granted, there are points during which I felt my own perceptions being upended as I did find myself struggling a bit with the demands of the story, which does essentially include a large cast of characters that are all working within aspects of the Nazi party, so why should I harbor any empathy towards them? Well...while you are not exactly having to find empathy for characters who represent people who committed crimes against humanity, Taika Waititi does indeed allow us to witness the empathy they possess towards each other, for even those who commit genocide love someone themselves.
This technique reminded quite a bit of Spike Lee's exemplary "BlacKKKlansman" (2018), a film that could have easily taken the obvious route and just presented the characters within the Ku Klux Klan, as well as David Duke him self as cartoonish caricatures of evil. Yet, what Spike Lee achieved was for us to view even the KKK as human beings, people who have friends, families, confidants and lovers just like you and me. Waititi's "Jojo Rabbit" accomplishes the same feat as we witness the relationships held by the film's characters and even striking acts of humanity, the final moments between Jojo and Sam Rockwell's Captain Klenzendorf are especially moving.
Taika Waititi has quickly announced himself as a cinematic artist to keep a sharp eye upon. To think that he could go from fully revamping the God of Thunder himself into the frisky, feisty, rainbow colored wonderland of "Thor: Ragnarok" (2017) to the rich and risk talking, fully idiosyncratic film such as "Jojo Rabbit" with such style, confidence and grace. And for all of the dynamic comedy on display, it is that very grace that anchors the film so urgently and with tremendously bittersweet sorrow.
For how else could a world of such unspeakable tragedy look to the eyes of a sad 10 year old boy who wishes to be a Nazi but is still unable to successfully navigate tying his own shoes?
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