Following a string of very popular and critically beloved independent comedies including the exceptional Hunt for the Wilderpoeple and What We Do in the Shadows, Taika Waititi ventured in somewhat darker territory, albeit still through a comedic lens. However this time, a far more particular lens. Adapting Christine Leunen’s Caging Skies, the story of a young and wounded Nazi Youth member who finds that his mother is hiding a Jewish girl from the authorities in Nazi Germany, Waititi added plenty to make his Jojo Rabbit a more angular and dynamic story – including chiefly, adding himself playing Hitler as Jojo’s imaginary friend. Upon being asked repeatedly about why he chose to play Hitler himself, Waititi commented that “the answer’s simple, what better ‘f*ck you’ to the guy?”, with himself being a Maori/Jewish man. It’s not the first time of course that we have seen humorous tackling’s of the absurdity of the third Reich and Hitler, however it has usually been through grander plot mechanics such as in Mel Brook’s iconic The Producers (Brooks commented himself after seeing the film that he saw it as “a terrific and eloquent and beautiful picture”), or through baser imitations in cheaper comedic fare. Jojo however manages to imbue this humour throughout whilst never faltering to implement the severity of the situation. This is all achieved through one simple decision that colours ever factor of this film; the film is told through a child’s eyes.

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I frankly adore this film and although it did receive some recognition in the Oscar fields, with Waititi winning for Best Adapted Screenplay, along with a Best Picture nomination and nominations in editing, costume design, production design and Scarlett Johansson’s second nomination that evening (Best Supporting for this film and Best Actress for Marriage Story, winning neither) – I still feel that in the incredible wave of films that we received in 2019, Jojo got put to the side. There was even a rather negative surge of criticism based around the films humorous dissection and depiction of anti-Semitism, although the point in the dialogue featuring extremely ridiculous notions about Jews is obviously pointing fun at the anti-Semites, many believed that having such intense laughter be produced from anti-Semitic remarks was in its own way counter-productive. The absurdity of everything in this film is taken to the absolute limits and although for most viewers I trust that the commentary is obvious, perhaps in the wrong hands this film may very well appeal to those who it is profoundly ridiculing. Much of the absurdity of the film comes from its choice to be told through our lead Jojo’s eyes. Jojo is played by newcomer Roman Griffith Davis and as with the other child actors in the film, particularly Archie Yates, is so wonderfully realistic that much of the humour comes from the naturalistic delivery of some brilliant lines no doubt, but more so from just how easily they come from their mouths. Both Davis and Yates have more private dramatic moments too, where we see in real time their contemplation of what this whole thing is about. Much of the arc of the film is told through us viewing Jojo’s ever changing reactions to what is occurring around him, especially as the nature of Jojo’s life grows darker and darker. The third younger lead performer is Thomasin McKenzie, embodying as per Waititi’s instruction the darkly dry humorous energy of Heathers. McKenzie’s Elsa is so much more than a victim in this film, she is a powerful agent with a boundless wit and a fierce heart that grows compassionately towards her keeper all the more as she sees how her words effect him.

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But for as much as the film is told through the eyes of a child, much of the power of the film is through the eyes of the adult characters too, for in multiple scenes we view in the background the reactions of those who have taken Jojo in, a triptych of fumbling Nazi officers played by Rebel Wilson, Alfie Allen, and in yet another incredible performance, Sam Rockwell. Rockwell’s deeply disillusioned captain is the core of some of subtler moments in the film, beginning as a very funny character seemingly trapped in a plight of war based emasculation and contemplation on the war itself. There are two scenes in this film that move and effect me in ways I hadn’t experienced in a lighter film in some time, one of them includes Rockwell and the other Johansson. The only nominated performance amongst these was Johansson’s deeply moving turn as Jojo’s mother, whose will and power truly effects Jojo in ways that he will never truly understand until a very tragic and still effecting mid-point turn for her character. The power of Johansson’s mother character perhaps comes from the source of Waititi referring to the film as a “love letter to his mother”, who introduced him to the Leunen source novel. A very touching note indeed. The other chief performance is of course Waititi himself as Hitler, a perverted comedic funhouse mirror Hitler all the same, but still a ferocious and fearsome character who we fear as much as we relish in laughing at. To put it plainly and sing Waititi’s praises more clearly; I think Jojo is the finest example of tone in a film that I have seen in some time, with a profound talent for balancing grand humour with brutal reality. This exemplification of a capability with tone is bookended by two seriously brilliant musical choices; opening with the German language version The Beatles recorded of I Want to Hold Your Hand and concluding with the also German version of David Bowies Heroes. Starting with a rousing and pulsating number with an obvious humorous re-contextualisation of its lyrics, mimicking the immense joy that Jojo has with being a member of the Hitler youth. Concluding with a timeless ode to the power of friends, love and ultimately compassion for one another despite any differences.

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Although I have been completely lauding the film, on this last watch of the film I did find a few inherent issues with the conceit of the film being told through Jojo’s eyes. In certain scenes facts are delivered truthfully, whereas this is then juxtaposed by profoundly comedic moments that at once are wholly unrealistic, but then wager against the naturalistic and more brutal scenes, particularly as the film goes on. These momentary thoughts aside however Jojo Rabbit is a film that enriches for me on every watch and is certainly a film that I feel will be a crux in education for future younger generations in relaying the horrors of war, as long it is of course paired with serious facts and the like.  Waititi continues to solidify himself as one of the core members of current cinema and I frankly can’t much wait until his next offering is given to us, for within one film he has managed to highlight his chops in multiple genres. I’d love to see Waititi tackle a completely naturalistic drama, but then again I’d love to see him make another frantic comedy. Frankly I’d love to see whatever he makes next and I can only hope that it comes to me sooner rather than later.

-        -  Thomas Carruthers