Die Arbeit von Taika wird dich zum Lachen und Weinen bringen.

Rating: 9/10 (14 January 2020)

In a solid year for films, particularly those at the business end of the awards season Jojo Rabbit stands out a mile. Mining the most horrific period in modern history for laughs is not to be attempted lightly. This film however manages to combine genuine belly laughs and consistent chuckles with real heart. For this alone it deserves all the praise it has received.
It splices the emotion of Spielberg (without the schmaltz), the slapstick of Python (without the real silliness) and the off beat characterisation of the Coen Brothers and filters it all through Waititi's unique comedic voice.
Anyone who has followed Waititi's career as I have from Flight of the Conchords through to Hunt for the Wilderpeople and Thor Ragnarok will see elements of all of these laced subtlety and more overtly through Jojo. Hunt for the Wilderpeople is probably the closest thing to a companion piece in that they are both driven by a child navigating a grown ups world and both deliver laughs and tears.
If you've seen the trailer or know a little of the film then the story is basically one of Jojo, a passionate Hitler Youth member who in the absence of siblings and a father imagines himself none other than Der Fuhrer as a friend.
He is of course played by the director Taiki Waititi in what can only be described a a unique take on history's worst human. The interplay between him and Jojo (played brilliantly by Roman Griffin Davis in incredibly his first film role) propels the first act as Jojo seeks to become the very model of the HitlerJugend. Bright eyed, inmocent, cherubic and full of zest he fantasies in his bedroom of glory while dressed in his uniform as any young boy the world over would do dressed as their favourite sports star or singer.
We soon meet Sam Rockwell as the youth camp captain. As always he delivers, bringing a little of his character in Billboards to what is essentially the shell of a once proud Nazi no longer able to take part in combat due to an injury. He is a shambling, drunken but still wily man who manages to dole out advice to our young protagonist even though you are aware he is maybe not entirely on board with the party line.
Scarlett Joahnsson plays Jojo's Mother and is utterly charming as a single parent trying to keep her child a child while keeping him safe. She is playful, tough and teaches Jojo that there's more to life than Hitler and the war. She also has her secrets which give the film it's weight and most heartbreaking scene.
The real centerpiece of the film though is the relationship between Jojo and Elsa (another brilliant performance from a young actress I first seen in Leave no Trace and again excels here). Her discovery by Jojo begins to really anchor the direction of the film and is deftly played by the director as initial fear and horror are soon turned into curiosity and friendship. Much to the chagrin of Jojo's imaginary friend. (Worth noting at this point that Jojo's only real friend up to this point is Yoki who is a relentlessly optimistic delight and delivers much of the film's comic relief, even when things get really heavy).
As Jojo and Elsa's relationship blooms the spectre of the war machine's most insidious parts are never too far away and it is not long before an impromptu home inspection from the local Gestapo takes place.
Despite being played largely for laughs at the start it becomes genuinely tense as Thomasin McKenzie playing Elsa conveys all the inner turmoil and resilience as expertly as an actress far beyond her years. The scene drips in Pathos but as is the genius of Waititi, things are never allowed to get too heavy and we are soon chuckling again thanks to Stephen Merchant and his band of hapless goons.
The film begins to draw to a close as Jojo is left bereft and begins to lose what's left of his faith in the war. He resolves to protect his Jewish stowaway at all costs. As the Red army encircle the city and break through the last of the defences the final scene plays out like an old fashioned farce with young and old alike strapped with guns and bombs they can barely carry never mind operate. In actuality anyone with a cursory knowledge of Berlin's last stand will know this isn't as ridiculous as it seems.
Sam Rockwell's Captain Klenzendorf finally realises his heroic potential as the survivors (Jojo included) are rounded up by the Red Army. He knowingly creates a skirmish with Jojo which he knows will set Jojo free but result in his death. It's played brilliantly and Jojo is free to return home to his beloved Elsa.
Torn between telling her the truth and risk her exercising her new freedom and telling her a lie to keep her close, his inner conflict is there for all to see. He ultimately does the right thing and they step outside together for the first time in a new Germany and much changed world. This however is not before a final reckoning between Jojo and the ghost of his imaginary friend. Hardened by what he has been through and completely enchanted by Elsa, he delivers the film's final hilarious, punch the air moment.
If this does not win best picture it will not be a major surprise given the Academy's form for playing it safe with the Oscar's. But make no mistake, in years to come this will be the one people will say should have won.
A triumph, Heil Waititi!!!