Whew, what a screenplay (!!)—based on the 2008 book “Caging Skies,” “Jojo Rabbit” is both historical and satirical; obnoxious and palpable. The tone is positively overwhelming during the opening credits scene, which juxtaposes WWII dictator Adolf Hitler’s Nazi rallies with the fanfare of the Beatles’ hit “Komm gib mir deiner Hand” (“I Wanna Hold Your Hand” in German). The film is a delicate, intriguing, satisfying comedic balancing act.
Score: Wirksam.
The score is a standout in this film, and a necessary element for complementing emotional scenes—the comedic and sentimental ones. The score emphasized tribal drums and heavy whistling, especially during scenes when Jojo was training to become a Nazi alongside his peers. It was effective in capturing the essence of wide-eyed, childlike innocence within a dangerous environment. The rabbit-killing scene, where Jojo received his nickname, was a great example of using the score to build conflict.
Cast: Perfekt.
I was really impressed with this ensemble cast! This may have been one of my favorite Scarlett Johansson performances—she was sharp, and she utilized her facial expressions responsibly. She didn’t waste a scene!
Roman Griffin Davis, who played the titular role, was fantastic!! I hope he continues to act. He had awesome timing.
Bruh, Stephen Merchant as “Deertz,” the Gestapo officer, was perfect!!! Bruh! He’s such a talent. Been a fan since “The Ricky Gervais Show.” The droning “Heil Hitler” repetition stressed the moronic policies of the era, and also the insecurities of its leader. It’s a point that has since evolved to repeated, televised expressions of praise and adulation that tickles the executive in office during my country’s current reign.
Sam Rockwell and Alfie Allen were great as supporting characters. The scene featuring Rockwell and Merchant’s characters where, after repetitious “Heil Hitler”-ing, Merchant confronts Rockwell who seems several feet shorter than him. As Merchant’s line of sight trailed downward to meet Rockwell’s eyes, he then hilariously LEANS down even further, with his back semi-hunched over, to re-emphasize the shift in the power dynamics. Y’all, I open-mouthed cackled during this entire sequence. Leave it to Taika Waititi to write a scene, which in any other film featuring Gestapo officers investigating an area would be the height of tension, that completely breaks all anxiety with little nuggets of situational comedy. (That was an unintentional run-on, my apologies)
Not gon’ lie, I usually loathe seeing Rebel Wilson in many things, but damnit if she wasn’t great in her role as “Fraulein Rahm!” I can’t think of any other actress that could’ve done that role. A+
Archie Yates, who played “Yorki,” Jojo’s childhood friend, was so fun too! I really adored his role! So sweet. 😍
Framing: Zielgerichtet.
The trinity of the 2-shot camera framing of Jojo + his mother, which over-emphasized her shoes and shoe-tying, was HOW 👏🏾 TF 👏🏾 IT 👏🏾 IS 👏🏾 DONE 👏🏾 👏🏾 👏🏾.
In the first act of the film, the audience understands the relationship between the gallows and the two characters when Jojo’s mother explains why the people hanged in the middle of town. Throughout the film, the audience sees three separate instances that highlights the relationship between shoe-tying and Jojo’s mother’s burgundy and white shoes: at the pool, at the ledge during the walk/pre-bike ride, and when Jojo sees her for the last time at the beginning of the film’s final act.
I just…what a series of sequences. Purposeful. Powerful too.
Makeup and Costuming: Makellos.
Lots of wools, textured cotton blends and military silhouettes, even for the characters who weren’t specifically Nazis or in training.
Jojo’s mother’s clothing choices were statements. They were often layered—mint-colored chiffons under the deeper greens and browns that mimicked the set design. Her costumes still followed a pattern, like the others characters, but her wardrobe stood out, and for good reason. It was symbolic—she was the odd man out during the Reign. She was the hopeful contrarian during a time of grave danger and consequence.
The smaller glimpses of red, white, and black—per the Nazi flag—were expected, but I loved that those colors popped more because they were underutilized throughout the film. They also balanced well against Jojo’s mother’s red lip stain.
Set design: Ausgerichtet mit dem Kleiderschrank.
Everything felt in place. The palette was streamlined and noticeable—Brown. Green. Military brownish-green. The red/black/white accents were almost entirely in reference to the Nazi flag. The only time I can recall seeing softer colors, like muted pinks and yellows, was when Jojo discovered his mother’s hidden room. The textures of the furniture and the color palette all changed during the discovery. (Symbolism)
Screenplay: Brilliant.
I should read this film’s screenplay. It’s so well done. Waititi built the suspense, reminiscent of a horror film, in the scenes where Jojo discovers Elsa hiding in his mother’s closet. The zoom-ins were 🔥🔥—the creepy one-little-two-little-three-little walking of Elsa’s fingers around the door and down the stairs was so fun!! And Jojo’s reaction were cartoonishly frightened. Even the scenes with the Gestapo officers felt like a horror film. Very well directed and edited scenes.
Specificity in the writing—my personal faves:
— Imaginary Hitler feasting on unicorn for dinner. 🤣 🦄 🤣
— Historical gems within the comedic writing:
💎 “The table is Switzerland…neutral grounds.”
💎 “Who’s gonna go walk the clones?”
💎 Imaginary Hitler referring to a girl as the “female Jesse Owens.” 🤣 🤣
💎 “This thing in the attic…” in reference to Anne Frank.
— Jojo’s leg pain registering in at an “18%” reminded me of the Timothée Chalamet line in “Lady Bird” (2017) when his character said he “…hadn’t lied in two years.” WHY IS THAT SO FUCKING FUNNY?! It works. I loved it. 🤣 🤣
— Elsa, portrayed by Thomasin McKenzie, correcting Jojo when he mentioned “Mexican stalemate” as just “stalemate.” Lovely. 🤣 🤣
A note on the brilliant satire 💡 of Taika as the imaginary friend version of Hitler:
Did Taika’s portrayal of Imaginary Hitler understate the vitriolic and heinous acts of the historical figure?
I wonder if it was challenging to juggle multiple positions during filmmaking as the director, producer, and actor, and also balancing the notions of satirizing such a popularized figure. I can recall the controversy surrounding this film at its release about concerns that a man of color, specifically of both Māori and Jewish descent, was portraying Hitler on screen. I ignored this outright at the time because I was familiar with Waititi’s heritage, and understood that his art was often reflective of his experiences. Also, many artists have satirized Hitler over the past 80 years, most notably, for me, was Charlie Chaplin in 1940 for his role in “The Great Dictator;” WWII didn’t end until five years after that film was released. Comedy legend Mel Brooks and others have also imitated Hitler over the years. But the satirization by people of color really does something to everyone’s brains. 🤔
Take Sarah Cooper, a Black American comedian, for example, who recently gained popularity for impersonating President Donald Trump. In my mind, her viral social media posts saying the exact same words as the President heightens his foolishness, and makes his words seem less harmful. The problem, though, is that what the Chief Executive of the United States says isn’t funny at all. It’s terrifying because the things he says are often absurd and have resulted in major consequences.
Hitler was responsible for unspeakable violence and trauma that changed the course of history forever, and Trump is…often compared to the figure. Yet, somehow, the sting seems less venomous when a person of color repeats it. 🤔🧐🙃
“Jojo Rabbit” is brilliant allegory. Waititi found a unique way for give audiences a “Flinestones” chewable version of a period in history. This film reminds me of the few past educators screened during my middle school years. I can see “Jojo Rabbit” alongside “Freedom Writers” (2007), and “Au Revoir Les Enfants” (1987) as required viewing for a course I’d never teach.