Member review

2019 brought a generously eclectic and audacious range of films to the laps of cinemagoers, none however, matching the nerve of Jojo Rabbit.

New Zealand-borne director Taika Waititi, is the brain behind the titular Nazi comedy and other nutty pictures like The Hunt of the Wilderpeople and Thor: Ragnarok. As director of the latter movie, Waititi was lauded with praise; he did what others before him had intensely failed at. He made an entertaining Thor movie. I have had the misfortune of watching many a Thor film in my time. It’s not pretty. During the Dark Ages (pre-Taika times) they only made two solo Thor movies and both were as sluggish and soul-depriving as the last. So, when Taika Waititi came out, guns blazing, armed with perfect comedic timing and a refreshing script, everyone, including myself, went mad. We were witnessing the reformation of a character.

That is why it pains me to describe Taika’s latest project, Jojo Rabbit, as disappointing.

The film is an adaptation of the novel, Caging Skies by Christine Leunens, and tells the story of how 10-year-old Johannes Betzler (Roman Griffin Davis), an avid member of the Nazi Youth, discovers a Jewish girl named Elsa (Thomasin MacKenzie), hiding in his house.

There are some likeable characters with subtle, engaging storylines that lend Jojo Rabbit a greater depth and entertaining edge. Sam Rockwell particularly shines as Captain Klenzendorf, a caricature of a failed Nazi general, and a character that I deeply enjoyed watching on screen, with his lines landing nicely. No spoilers shall be revealed here, but I must say that Rockwell did (really) almost make me shed a tear. Scarlett Johansson and Roman Griffin Davis also crafted a moving mother and son relationship and I am now convinced that the two should collaborate again. One of the movie’s highlights was its peppy soundtrack. It’s actually laughable how much joy I got from hearing German renditions of “I’m A Believer” and “I Want to Hold Your Hand”. I would have never guessed they would be so perfect for a film about the blind fanaticism of Hitler’s regime. Yet, the soundtrack gave the satire the animate tone it needed. A match made in heaven.

Jojo Rabbit takes big leaps in audacity and while I understand and admire the idea behind Taika Waititi’s satirical take, it puts the wrong foot forward. Where the film fails most importantly, is in its comedy. It wasn’t at all the case that I couldn’t muster even a single chuckle during the 108 minutes of Jojo Rabbit. I laughed. Quite a few giggles, here and there.

There are some particular gems that will remain in my heart forever; “Sh*tler” is of course, a hilarious besmirching of the correct name and the ritual of Heil Hitler-ing every person in the room is priceless. There were simply not enough laughs to make this movie’s oddity land cleanly and too many jokes which left me searching for the punchline. The film finds itself confused between mocking the Third Reich and making a meaningful message, which in its defence, are two extremes that are hard to balance fluidly – it just means that neither was accomplished fully.

Disappointing comedy aside, Jojo Rabbit has the mark of a unique filmmaker stamped all over it (if the screenplay wasn’t already telling you) and I thought most of the characters and script were solid. Taika Waititi is definitely a director with a clear vision and style, and he has proved countless times with his filmography, that he can pull off bizarre comedy, so this state of “Ermm, not too sure if it was great or just okay”, which it lies in, is frustrating.

Taika Waititi is an immensely skilful director – we know he can do better.

There is nothing considerably mortifying about the movie and nothing to write home about either – maybe this Nazi comedy is simply not the one for me.

6.5/10 (4/5 stars above but that’s a 3.5 rounded up).