Jojo Rabbit (2019)

Based on the novel ‘Caging Skies’ by Christine Leunens, this film tells the story of a young boy living right in the middle of World War 2 in Germany, and his idolisation of his hero - and imaginary friend - Adolf Hitler.

Ten-year-old Jojo (Roman Griffin Davis) lives with his mother Rosie (Scarlett Johansson) in a small village in Germany. He considers himself a Nazi, and at the film’s opening, is going away to a Hitler Youth style training camp with several of his closest friends, including best friend Yorki (Archie Yates).

There, he meets SS Captain Klenzendorf (Sam Rockwell), as well as Klenzendorf’s assistant Finkel (Alfie Allen) and Fraulein Rahm (Rebel Wilson), who introduce the young children to all manner of practices they will need to be skilled in in order to serve in Hitler’s forces.

The thing you need to know is Jojo not only idolises the Fuhrer, but he actually has him as an imaginary friend, and the two of them have lengthy conversations (of course, only Jojo can see him) and Adolf (Taika Waititi) is constantly commenting on Jojo’s life and decisions, and giving him advice on what to do next.

Jojo (Roman Griffin Davis) and Adolf Hitler (Taika Waititi).

After Jojo is sent home from the camp seriously injured - and also with physical deformities - he is stuck at home with his mother (his father is off in France fighting, as he has been told).

While there, he accidentally comes across a Jewish girl hiding in their attic. The girl, Elsa (Thomasin McKenzie) has been invited to hide out by Rosie - unbeknownst to anyone else of course, including Jojo.

Jojo’s personal beliefs are called into question, as he must decide what to do with this discovery. Does he turn Elsa in, and risk his own life and that of his mother? Or does he put aside his fascist thinking and learn to accept this person who isn’t all that different from him after all?

Rosie (Scarlett Johansson) and Jojo (Roman Griffin Davis).

The screenplay, adapted by Taika Waititi from Leunens’s book, is absolutely brilliant. Sure, there are a lot of differences between the book and the film, but none of these affect the film too negatively. The script - and hence the film - is absolutely hilarious, which may come as a surprise given the subject matter and the historical and cultural setting, though not as much of a surprise to those who have read the book.

There are plenty of twists and turns in the plot as the film progresses, which of course I will leave for you to discover. The characters are all incredibly well-constructed, with plenty of internal and external conflicts.

Michael Giacchino’s score is barely noticeable (in a good way). There is music there, but it is so well-suited to the scenes in which it features, it is never jarring. The film is certainly not overscored, in fact, it doesn’t have a lot of score at all. Even when it does, it is incredibly understated, with minimal instrumentation, keeping itself out of the way to allow the comedy (and drama) to come to the fore.

The cinematography - courtesy of Mihai Malaimare Jr. - is sensational throughout. The overall look of the film is in keeping with the setting and time period, and Malaimare’s command of light, dark, shadow and contrast is a joy to behold. The film - even though it is primarily a comedy - is visually spectacular, and deserves to be seen on as large a screen as possible (if you miss it at the cinema, watch it on a nice big television; you’ll thank me).

Elsa (Thomasin McKenzie).

Ra Vincent’s production design and Mayes C. Rubeo’s costume design firmly plant the viewer right in the middle of 1930s Germany, indeed right in the middle of an active war zone. The two work together in such a beautiful way as to perfectly set the scene from beginning to end, and everything just feels so real.

The performances of the entire cast are sensational as well, none more so than young Davis in the title role. Despite his young years, he has a seemingly innate ability to convey so much through his eyes. He also possesses brilliant comic timing - perfect for this film. The same things can be said of Scarlett Johansson, who doesn’t feature nearly enough considering her brilliance.

The supporting cast are equally as good, almost without exception. Waititi steals every scene he appears in, as does Sam Rockwell.

Director Taika Waititi has made an exceptional film here, one that I would happily pay money to see again at the cinema (it really is that good). I can not recommend it highly enough; you absolutely must see this film.

10 out of 10.