Jojo Rabbit

Jojo Rabbit 2018
Taika Waititi has, in the last ten years, steadily been making a name for himself as a director, writer and actor. His directorial credits include such awesome films as What We Do in the Shadows 2014, Hunt for the Wilderpeople 2016 and Thor: Ragnarok 2017). For this World war II satirical black comedy-drama he directed, wrote the screenplay and co-starred.

 
Starring Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Sam Rockwell and Rebel Wilson

 
Set in 1944. Naive and patriotic Jojo ( Davis) is a lonely ten year old boy in Hitler’s youth army. With only one real life friend, Jojo has conjured up an imaginary friend who is idiotic, Jojo’s biggest supporter and his cheerleader. He also happens to take the shape of Adolf Hitler. Jojo’s life and previously unwavering patriotism is turned upside down when he finds out his Mum (Johansson) has been harboring Elsa, a Jewish girl ( McKenzie), in their attic. The more he learns from Elsa the more he questions what he has been taught from his Nazi youth camp led by Captain Klenzendorf (Rockwell) and Fräulein Rahm (Wilson).

 
Believable, natural and nuanced are three words that can be used to describe the performances from Roman Griffin Davis, Thomasin McKenzie and Scarlett Johansson. A debut role for Davis but there is no way anyone would realise, such is his talent. Thomasin McKenzie is continuing to impress, she was excellent as Tom in Leave No Trace (2018) and is no less so here as Elsa, hers and Jojo’s relationship is smart, witty and full of compassion. Johansson is brilliant (but when isn’t she?) as Jojo’s mum Rosie; a loving mother who is torn between being a supportive single parent for the misguided Jojo and being part of the resistance. I hope to see some award nominations for her this year whether it be for this film or her brilliant work in Marriage Story. Sam Rockwell, Rebel Wilson and Taika Waititi are less nuanced but no less brilliant as they bring the humor in a big way. Rockwell and Wilson as the very unconventional youth camp captains, and Waititi as the absurd Adolf.

Taika Waititi’s directing style of quirkiness, humour, sentiment and passion runs all the way through this movie. This intentionally over-coloured film takes us from the ridiculous to the sublime and back again many times. It’s brilliantly funny until it’s not, and then the heart takes over.

 
As much as I enjoyed this film, I had a feeling I should have been enjoying it more but somehow couldn’t – I’m not really sure why either. It could be that the topic of the film should be anything but funny, or that the shift in tones between the first half and second were too much for me. The humour throughout the whole film is excellent although more prevalent in the first act. I liked it more when the heavy satire cooled down and the drama took over. I can’t decide if it’s a touching film with belly laugh moments or a belly laugh film with touching moments, either way I thought it was great.