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- Best film
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- Best Adapted Screenplay
- Best assembly
- Best production design
- Best costumes
A fictional town in Germany, World War II is coming to an end and the country is losing it. Never mind. It is a great day to be a Nazi. It's a great day for Jojo Betzler. He is 10 years old and will go to the Hitler Youth camps where, if everything goes as he wants, he can achieve the honors necessary to become, who knows, a personal guard of the Führer himself .
Let's just say that in the camp things don't go as Jojo, nicknamed 'Rabbit' since then, he imagined. His dream of serving the III Reich on the battlefield fades - rather it jumps through the air - and Jojo ends up being useful to Germany distributing pamphlets around his city. Luckily he has the invaluable help and (wise) wise advice from his best friend who is none other than Hitler. To whom Jojo openly calls Adolf - among friends, even if they are imaginary, there is confidence to guard and offer tobacco.
Yes, with Jojo Rabbit we move in the land of satire. Of the black comedy. With Hitler and Nazism as a backdrop. The mockery of Nazi Germany is not new to cinema. A difficult balance between the laughter and the most absolute horror they have already explored, among others, Roberto Bengni in Life is Beautiful, Quentin Tarantino with Damn Bastards, and, of course, Charles Chaplin and Ernst Lubitsch in The Great Dictator, and Ser o not be , respectively.
Taika Waititi, director of Jojo Rabbit, fully engages in the theme: he plays the histrionic Adolf himself and composes a film full of color and light in which darkness and night have hardly any place and is that it is one of Nazis ! The film combines delusional moments such as the start in the Hitler youth camp or the final battle without turning its back on the most absolute horror that Jojo Rabbit comes in, among other hard moments, in the form of shoes. The music, it could not be otherwise, also plays its role in this drama disguised as a comedy with an initial montage of the Nazi greeting with the Beatles theme 'I wanna hold your hand' and the 'Heroes' of David Bowie as a snap final.
However, when it seems that the movie takes us in one direction. Everything jumps through the air - literally - and we find a much more intimate portrait with Jojo forced to spend a lot of time alone at home. It is then, with his absent father and his sweet and vitalist mother Rosie (Scarlett Johansson) very busy, when Jojo soon discovers the great secret of his father: he hides a Jewish teenager (Thomasin McKenzie) in the room of his late sister .
Based on the novel The caged sky of New Zealand's Christine Leunens, the film is fun and exciting. But horror is still present as in the dramas about Nazism. What makes Jojo Rabbit different is the look. The point of view of the young protagonists who do a wonderful job: with a great debutante Roman Griffin Davis and Thomasin McKenzie (The king) playing Elsa, the Jewish teenager.
Two supposedly opposite characters who end up discovering that they have much more in common than they thought. Their first meeting is traumatic for both. Especially for Jojo who discovers that his own mother has put the enemy at home. Jojo is at a crossroads: follow Adolf's advice and betray Elsa - which would lead to the arrest of his beloved parent - or shut up and study the enemy. From the conversations with Elsa there will be an in-depth study of the Jews from which Jojo obtains material for a book and in which we see how the beliefs of the little Nazi falter.
Here plays a fundamental role Adolf. In his apparently silly conversations with Jojo, the tug of war is represented that the child lives between what he is feeling and seeing with his own eyes and what he has been told to think, believe and feel. That the Jews don't look so bad, that they don't have horns, don't eat babies, or sleep on their stomachs.
The pony about Nazi fanaticism has its maximum expression with the great secondary carousel. Scarlett Johanson embroiders her role as Rosie, Jojo's mother, and competes for the Oscar for Best Supporting Actress. A pity that the winner seems to be his partner in the history of a marriage, Laura Dern. His character never reproaches his son for his Nazi ideas, he only cares to protect him from danger. All without sacrificing your ideals and risking everything for what you think is right.
Adolf's character, played by Waititi himself, is exaggerated, pathetic and a jester. It is the tool used by the director to make clear the absurdity of Nazism without tiptoeing through horror: the meaningless ideas that had been made to believe the population, the lack of information, the devastating Nazi propaganda machine, how the Hitler youth, the exemplary dead, the ruthless action of the Gestapo ...
However, Waititi is not the funniest character in the movie. Sam Rockwell (Three ads outside) falls in love with his interpretation of Captain Klenzendorf. A gay Nazi disillusioned with the army, who has lost an eye and is lucky to lead the Hitler youth camp. Rockwell stars in some of the funniest scenes, yes, but also the most dramatic. Wearing his best clothes, he gives everything for what he has defended for years in the final battle that takes place in the town. But, at the moment of truth, the tender captain does not hesitate to give the greatest of gifts, at the cost of the greatest sacrifice, to the young Jojo.
It would be a big surprise that Jojo Rabbit was the winning movie this Sunday. The nomination is already a triumph and a formidable showcase for a film that makes it clear that children's education is not a trivial matter. That it is important to raise them in tolerance and respect. That we must teach them not to hate or fear those who think differently. It is worth thinking about what we instill in children. In these strange times in which children are more of the State than of the parents, Jojo Rabbit should be projected in schools without the option of parental pin.
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