Jojo Rabbit

3

• Genre: Comedy

Chaplin maintained that, to really laugh, you have to be able to "grab the pain and play with it." Taika Waititi knows it. Or, at least, pretend to know. On paper, Jojo Rabbit simply describes, in a tone between naive and only dazzled, the entry into adulthood of a child. The peculiar thing is the atmosphere. We are in Nazi Germany, the kid belongs to the Hitler Youth as before he did the philosopher Jürgen Habermas, for example, and, in the absence of the father, he resorts to the figure of the Führer as his only and paternal imaginary friend. Without a doubt, a joyfully suicidal starting point. Then there will be love, doubts (he will fall in love with a Jewish refugee) and, of course, pain. And now, to play.

It is so much the risk that Waititi's proposal oscillates between almost exasperating control and that taste for the absurd stark so typical of the director

The film plays risk, but fearful of every step it takes. Alternate delusional moments with a calculatedly accommodated or only soft narrative. In the same way that appropriately fraudulently appropriates the Wes Anderson ideology, he explores so original and emotional terrain. Let's say it's so much the risk that Waititi's entire proposal oscillates between almost exasperating control and that taste for the absurd stark so his. And so, Jojo Rabbit grows when he frees himself from worrying about what he is telling and becomes entangled in his perplexities when he becomes aware of the looks that judge her. When, on one occasion, Chaplin was asked about his idea of ​​beauty, he replied that it was "a smiling sadness." And some of that is in a film that, despite its many hesitations, is right to hurt. And to play with it.

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