New Zealand director Taika Waititi initially caught my attention with Thor Ragnarök. His direction demonstrably revitalized the Thor franchise, injecting humor and self-deprecation. However, the humor eventually felt excessive, becoming both the film’s greatest asset and its principal drawback. Upon viewing the trailer for Jojo Rabbit, I was uncertain; the film appeared to have the potential to be either exceptionally brilliant or profoundly flawed.
Jojo (Roman Griffin Davis), a fervent member of the Hitler Youth, resides with his mother, Rosie (Scarlett Johansson), and his imaginary friend, Adolf Hitler (Taika Waititi). Following an accident involving a hand grenade, Jojo is confined to his home, where he discovers that his mother is concealing Elsa (Thomasin McKenzie), a Jewish girl. Initially fearful of the perceived “evil” Jewish woman, Jojo gradually begins to question the validity of his indoctrination, leading to an awakening with significant consequences.
I approached Jojo Rabbit with anticipation, but ultimately found it underwhelming. Based on the 2008 novel Caging Skies, the film deviates by including the imaginary Hitler figure, a decision that undermines the core premise. The concept of a mother opposing Nazi ideology while raising a son indoctrinated into the Hitler Youth presents a compelling and serious narrative. However, the film’s fluctuating tone, oscillating between absurd portrayals of a childish Hitler and attempts at gravitas, creates a disjointed viewing experience. This inconsistency hinders the development of a meaningful connection with the main characters, diminishing their impact.
Roman Griffin Davis delivers a remarkable debut performance in the lead role, showcasing considerable promise. Sam Rockwell, a consistently reliable actor, is characteristically excellent as the disillusioned officer overseeing the Hitler Youth. Stephen Merchant provides a particularly memorable performance as a Gestapo officer. However, Scarlett Johansson, typically known for her nuanced performances, seems miscast in this role (despite receiving an Oscar nomination for Best Supporting Actress). Her portrayal of Rosie lacks consistency; one particularly odd scene involves her seemingly channeling the deceased father. While the sequence could have been poignant, it ultimately feels incongruous due to the film’s structural issues.
While parody and irony can be effective cinematic tools, as demonstrated by Mel Brooks’ seminal work, The Producers, Jojo Rabbit struggles to coalesce. Despite moments of humor, the film feels disjointed. A potentially impactful and serious story appears to have been superficially embellished with humor, yielding disappointing results. A more earnest adaptation of the source material would have been preferable.
The UltraHD edition from Fox maintains their standard of excellent picture quality, delivering deep blacks and vibrant colors. HDR10 enhances the visuals, providing added depth. The audio is presented in DTS HD 5.1, offering clear dialogue and a well-balanced soundscape. Given the film’s emphasis on dialogue, the absence of Dolby Atmos is not particularly noticeable. The supplementary material includes a documentary lasting just over half an hour and deleted scenes, but the highlight is undoubtedly Taika Waititi’s engaging commentary track.
In conclusion, Jojo Rabbit failed to meet expectations; the trailer presented a different vision, which I would have preferred to see realized. However, the quality of the Ultra HD edition, coupled with the highly enjoyable commentary track, warrants a passing grade. But nothing more.
