Tag Archives: Thomasin McKenzie

Jojo Rabbit (2019): Nazi Comedy

Using the increased clout afforded to him after revitalizing a Marvel franchise with Thor: Ragnarok, Taika Waititi (Hunt for the Wilderpeople) has gone to much riskier material. Jojo Rabbit is a comedy set in Germany near the end of WWII. Jojo (Roman Griffith Davis) is a boy who is obsessed with Hitler and fully indoctrinated by his ideals. His world becomes more complicated when he discovers his mother is hiding a Jewish girl (Thomasin McKenzie; Leave No Trace) in their home.

Waititi gets great work from his main cast. As Jojo, Davis has the wide-eyed look of an innocent, but easily impressionable kid and it allows him to get away with reciting Nazi propaganda. While what he says is hateful, it is obvious that he is only a child repeating what he has been mislead to believe is true. McKenzie brings a surprising amount of strength to her role. As the lone Jewish character, reduced to hiding in the walls of a house, it would have been easy for her to be a victim, but instead she comes off as resilient and bold. Her use of Jojo’s misconceptions to terrify and control him are an unexpected treat as she deliberately moves like a ghost in a horror movie to play into his fears. Scarlett Johansson (The Avengers), as Jojo’s mother, is warm and loving, but has an hilariously antagonistic side. Since she secretly despises Nazi beliefs, she subtly teases Jojo to get him to understand that his beliefs are wrong by telling him about the importance of love while also gently taunting him by calling him “Shitler” or tying his shoelaces together.

The supporting roles have their moments as well with Yorkie (Archie Yates) deserving high praise. As Jojo’s chubby, bespectacled second-best friend, Yorkie is the film’s funniest character. His sweet nature and complete obliviousness to the events around him are hilarious. Every moment he shares with Jojo is heartwarming and cute as he finds himself inexplicably resilient and makes his way through one precarious situation after another.

Waititi uses overly exaggerated facial expressions that detract from the humor.

The exception to the excellent casting unfortunately comes in Waititi himself. A self-described “Polynesian Jew”, Waititi playing Hitler is, in theory, a perfect fit. He is a talented comedian and the idea of casting a non-white Jewish actor as Hitler is in itself appropriately insulting to Nazi beliefs, but Waititi overacts in the role. It’s important to distinguish that this is not Hitler, but rather a 10 year old’s imaginary version of Hitler, so he only has the mental faculties of a little boy. This leads to some moments of levity as Waititi is confused by things a child wouldn’t understand, but his facial expressions are often too much to handle. He spends most of his screentime trying to make funny faces to get easy laughs, but this is distracting and undermines much of the humor leading to a film with jokes that miss as often as they land.

Setting a feel-good comedy in Nazi Germany is not a normal premise and it has understandably offended some. Jojo Rabbit doesn’t portray Nazis as good-hearted, but it does make them seem like incompetent buffoons in an aesthetically pleasing Wes Anderson-like world that only lightly touches on the atrocities they were so efficient in executing, which is a tonal mistake. That being said, the Nazis themselves are not the focus of the film. Jojo Rabbit, like many of Waititi’s works, is a coming of age story, this time in the midst of warped society. It is ultimately about a child learning to embrace love over hate and disregarding the alleged differences between various people. It doesn’t have the sustained laugh rate it aims for, but Jojo Rabbit is still enjoyable for its lead cast, goofball humor, and a few poignant moments.

3/5 stars.

Leave No Trace (Sundance 2018): Growing Beyond Your Parents

Somewhere in the middle of the woods, a father and his daughter live alone in what seems to be a permanent camp. It is soon revealed that Will (Ben Foster; Hell or High Water) and Tom (Thomasin McKenzie) are actually living in a national park, far off the beaten path to avoid contact with patrons. They are mostly self-sufficient, taking only infrequent trips to the nearby city for basic tools when necessary, until Tom is spotted by a runner. The authorities later arrive to take them away and they are placed into state-sponsored housing and assistance programs. For the first time in her life, Tom is exposed to society and the possibilities it brings.

The pacific northwest setting envelops each scene. The trees tower over the cast with the tops far out of frame. They create a harsh beauty to Will and Tom’s living arrangements. The film doesn’t shy away from the rain either. The characters are palpably soaked and their camp feels worn with use.

As Will and Tom are taken in by government agencies, director Debra Granik (Winter’s Bone) makes a small statement on their effectiveness. While their accommodations are good and the people assisting them care for their well-being, the mandated processes are shown to be ineffectual. Will has to take a comically long survey (400+ questions) that he is not mentally prepared for and Tom is immediately separated from him, her only companion. It may not be the focus of the film, but this slight commentary is welcome.

Tom’s growth to independence is well portrayed by McKenzie.

So often films examine parents dealing with difficult children, but here Granik is interested in the reverse scenario. As Will pulls them out of their generous state sponsored housing into more precarious situations, his actions raise doubts in his previously obedient daughter. Tom starts to realize that there is something beyond a desire to live outdoors going on with her dad. He has some sort of compulsion to get away from society and it soon revealed that Will is a veteran, likely suffering from PTSD. This is incredibly complex subject matter, but Granik is able to weave through it as Tom gains a better understanding of what she needs versus what her father needs.

Leave No Trace is a film about quiet, gradual realizations. Tom’s growth into an adult is a steady change. McKenzie’s performance is subtle and understated as she takes note of each red flag. Her arguments with her father are compassionate, honest pleadings rather than the shouts of an angsty teen and the composure she displays is impressive, as are her interactions with her father. Foster and McKenzie exhibit the unspoken understanding that comes with close relationships and their affection for each other is obvious. Typically, when there is a story of a man alone with his daughter in isolation there are heinous actions involved, but not here. In the face of Will’s PTSD driven actions, they are still a loving family. As Tom matures and must reevaluate her relationship with her traumatized father, hard, adult lessons are learned. Granik succeeds by making Tom’s journey to understanding her father gentle and nuanced.

4/5 stars.