It is a film about disastrous historical events pulling us to the future, it is not some sci-fi adventure but a prediction of the could-have-been future.
The co-writer and director Taika Waititi’s shock and awe theory is shocking and awe-inducing. Amidst all the controversies and debates that the film has been provoking, you know then and there that the film works. Filmmaking is one slippery sand in your hand. You are told to define the filmmaking in the most textbook format. The definition asks for you to follow certain rules along with elements, proper stages with enough room and objectives that are obligatory. And this is how it is measured. Now, one would always argue then, why doesn’t everyone gets it right. Well, one’s an idiot. Because there is no textbook out there. So what you are referring to, what your source is, is your instinct.
You must have a sophisticated skillful way of turning the heads of the viewers. Tilting with wonder? Why not. And you can deny and argue as much as you like but Taika in its absurdity and contradictory method, wins your heart with a charming and delightful “small talks”. If it makes you cry, it made you feel something. If you’re laughing, then you are. The “experience” factor of the film could not be more clear.
Taika’s Jojo Rabbit is rabbit-alike. My family has just adopted a rabbit. So all I see is it. But the adorable looks or tone of the film overcomes its undermining and often questioning themes. The film repeatedly skips the “homework” aspect of the narration to zap you with an emotional dose. There are so many things wrong with it. But then, the premise itself asks for it. And no, I am not pointing towards the old Hitler routine, the elephant in the room. But what goes behind those frames. There are some unearthly images enacted in the film to exaggerate the underlined lunacy where all these acts were leading towards.