Fox Searchlight
Hitler and the Nazis have been used for both dramatic and comedic effect in Hollywood since the end of World War II. Heck, even during the war when Disney and Warner Bros. produced anti-Nazi propaganda cartoons that are rarely seen today because of other unfortunate stereotypes that abound. There have been countless dramatic war movies but Nazis were never really used for sources of comedy until Mel Brooks’ The Producers, which featured a Broadway musical with the number ‘Springtime for Hitler’ and, most notoriously, the late 1960s sitcom Hogan’s Heroes. Seen today, it boggles the mind that a network television comedy series was set in a German prisoner of war camp and was a ratings success, running for six seasons on two different networks.
When people started to get word of Taika Waititi’s newest film Jojo Rabbit, there was already controversy brewing before anyone had seen more than a few frames of the film, and those frames usually featured Waititi himself in his Hitler drag. Taken out of context it did seem to border on the completely absurd and offensive, portraying Hitler as a buffoon, but now that people are beginning to see the movie, it takes on a completely different context.
The film focuses on young Jojo (Roman Griffin Davis), a boy completely devoted to the Nazi party (his mother refers to him as a fanatic at one point) who is eager to spend a weekend at a Nazi training camp for children. But Jojo finds himself the object of ridicule when he doesn’t convince anyone that he’s ready to kill for his country, and it goes even worse when he’s given a rabbit to prove he’s truly that cold-blooded. Instead of killing it, he attempts to set it free and earns the nickname Jojo Rabbit. Jojo only wants to become Hitler’s best friend to the point that he conjures up his own imaginary Hitler (Waititi) who acts as a sort of Jiminy Cricket to the boy, offering up bizarre solutions to Jojo’s problems. Jojo’s Hitler tells him rabbits are brave and the pair run towards the group, snatch a grenade and toss it … but it hits a tree and bounces back, scarring Jojo’s face (and a running joke has everyone telling him how hideous he looks but he’s still as adorable as ever).
Drummed out of the camp, Jojo spends more time with his mother Rosie (Scarlett Johansson) while being given a job of distributing propaganda for the Nazis to keep his head in the game. But while his mom is out ‘at work’ one day, Jojo hears something upstairs in his late sister’s room. There he discovers Elsa, a young Jewish girl Rosie has taken in to keep safe. Jojo is torn by this discovery — if he tells, his mother gets in trouble. If he doesn’t tell and Else is found, they all get in trouble. And at one point a group of Nazis does arrive to do a not-so-random check of the residence. But Jojo finds himself falling in love with this person he’s perceived as a ‘monster’ and the two become even more bonded by a terrible event.
Jojo Rabbit is, I think, the best movie I have seen so far this year. It isn’t hard to see the story’s relevance to today’s political arena where a group of people are blindly devoted to a leader who assures them that only he can help them. What happened in Germany then is certainly a case of if we forget history we are doomed to repeat it now. It’s not too difficult to equate the people of Germany eager to don their Nazi armbands with people today more than happy to don their MAGA hats. Same fanaticism, different day. Perhaps this is what some people found offensive about the film.
But looking at the film just on the surface, you can’t deny the wonderful performance of Davis, who is in practically every scene of the movie. Waititi struck gold with this young actor turning in an emotionally rewarding performance with his first role. He has to tread a fine line between Jojo’s fanaticism and his humanity, his love for his mother and his fear of Elsa that eventually turns to love (he’d say in a big sister way but he really means of the heart … or the literal butterflies in his stomach), willing to lie to his own people in order to keep Elsa safe. It truly is a remarkable performance.
Thomasin McKenzie as Elsa is also terrific, going from scared to defiant to protective, putting her own life on the line to keep Jojo safe, and bonding with the boy by spinning tales of Jewish history — for his Nazi propaganda book — and even providing the comical artwork. But you can see the two growing closer together as the story progresses and she isn’t afraid to stand up to his Nazism because she knows he can’t reveal her existence without putting them all in danger. The pair of actors are the heart and soul of the film.
They are ably supported by the adult actors as well. Johansson’s Rosie is the mother we all want. She dotes on her son, she puts up with his fanaticism, she has to be both father and mother (and becomes Jojo’s father in one memorable scene), but she knows this war will end and they will be on the losing side. At one point, she and Jojo come upon a group of people who have been hanged in the middle of town, put on display for their ‘crimes’ of fighting against the war effort. When Jojo asked what they did, Rosie replies, ‘What they could’ in what can only be described as a mournful delivery. It’s also a key moment that will pay off later in the film.
Sam Rockwell is also wonderful as Nazi Captain Klenzendorf, who would rather be anywhere else than running a camp for kids. But an eye injury has taken him off the front lines and now he dreams of designing flamboyant uniforms for himself and his not-so-subtle lover Finkel (Alfie Allen). But don’t let Klenzendorf’s Nazi exterior fool you; the guy does have a heart. Rebel Wilson also gets in a few quick, funny moments, and Stephen Merchant is slickly menacing as the leader of the group who comes to investigate Jojo’s home. And another of the junior standouts is Archie Yates, another first-timer, as Jojo’s best friend Yorki. He shines in every scene he’s in, leaving you wishing for a potential sequel focusing on the adventures of Jojo and Yorki.
Waititi pulls double duty as Hitler and the film’s director and even though as Hitler he can be a bit goofy, you can also see how sinister he is by the way the propaganda has seeped into Jojo’s mind. It certainly is a cautionary tale and there is a very rewarding moment near the end of the movie between Hitler and Jojo. As director (and writer), Waititi has put together a tight story with no real excess fat. Everything in this movie has meaning. A scene with Rosie and Jojo enjoying a day out may seem like filler, but there are important things going on. Jojo’s inability to tie his shoes at the age of ten is also a very important plot point that plays out so tragically later in the movie. If Waititi isn’t up for all the awards this year then there is no justice.
I have to also point out the stunning production design, from the sets to the costumes. Everything is time period appropriate down to the smallest details, from the somewhat fashionable clothing of Rosie to the patterns on the wallpaper. Everything has the look of being lived in and worn, especially the shoes (again, the shoes here are very important to the story). Too many films have shoes that don’t look work or have the wrong types of soles for the era, but everything in Jojo Rabbit is done to perfection. Ra Vincent, Ondrej Lipensky, Nora Sopková, and Mayes C. Rubeo should all be recognized for their work, as should cinematographer Mihai Malaimare Jr.
Jojo Rabbit is funny, sad, entertaining, thought-provoking and meaningful with a collection of magnificent actors and exceptionally skilled craftspeople behind the cameras. This is truly the first real awards-worthy movie of the year. In my humble opinion.
Jojo Rabbit has a run time of 1 hour 48 minutes and is rated PG-13 for mature thematic content, some disturbing images, violence, and language.
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