Film Review: "Jojo Rabbit" (2019).

From Taika Waititi, director of Thor: Ragnarok and Hunt for the Wilderpeople comes Jojo Rabbit. This satirical black comedy film adapted and directed by Waititi, and based on Christine Leunens's book Caging Skies. A World War II satire that follows a lonely German boy named Jojo whose world view is turned upside down when he discovers his single mother is hiding a young Jewish girl in their attic. Aided only by his idiotic imaginary friend, Adolf Hitler, Jojo must confront his blind nationalism.

The screenplay for the film was written back in 2011. But had to put it on hold after What We Do In the Shadows, Hunt for the Wilderpeople, and Thor: Ragnarok were completed. In March 2018, it was revealed that Waititi would not only direct but also co-star in the film as an imaginary Adolf Hitler. Speaking of the context of the role, Waititi said "It's my version of... a lonely boy's best version of his hero, which is really his dad", referencing the fact that in the film, the protagonist, a 10-year-old boy, is desperate to join Hitler's ranks during World War II. When Waititi, who is Maori/Jewish, was asked about why he chose to play the role of Adolf Hitler he said "The answer's simple, what better 'fuck you' to the guy?" By late May, Roman Griffin Davis, Thomasin McKenzie, Rebel Wilson, Stephen Merchant, Sam Rockwell, Scarlett Johansson, and Archie Yates rounded out the film's cast. At the same time, principal photography commenced, and took place in Prague, Czech Republic.

The film stars Griffin Davis, McKenzie, Wilson, Merchant, Rockwell, Johansson, and Yates. The performances given by the cast had surprising depth and poignancy. Waititi definitely gives the perfect 'fuck you' to one of the most evil men who ever existed. How appealing you find it will probably depend on your response to Waititi's screen-hogging routines - the line between endearing and irksome is a fine one.

At any screening around the world, it will offend some left-wing viewers with its use of humour in connection with the Nazism. What may be most offensive to both wings is its sidestepping of politics in favor of simple human ingenuity. Jojo Rabbit finds the right notes to negotiate its delicate subject matter. What is surprising about this unlikely film is that it succeeds as well as it does. Its sentiment is inescapable, but genuine poignancy and pathos are also present, and an overarching sincerity is visible too. It's undeniably some sort of feat—the first feel-good Nazism comedy sketch. It's been a long time coming. The film is presumably intended as a tribute to the powers of imagination, innocence, and love in the most harrowing of circumstances. Waititi's earnest charm, when not overstepping its bounds into the unnecessarily treacly, offers the possibility of hope in the face of unflinching horror. Waititi's finest hour has arrived when the triple-threat writer/director/actor delved deep into Charlie Chaplin / The Great Dictator (1940) territory. A wrenching, sad, funny and haunting Holocaust fable, with bittersweet humor, exceptional, that is well-crafted, and uplifting.

Simon says Jojo Rabbit receives:

Also, see my review for Thor: Ragnarok.