Jojo Rabbit 4K 2019 Ultra HD 2160p

Jojo Rabbit 4K - The plot focuses on a 10-year-old German boy who has just lost his father. He cannot find a place for himself in this world and suffers from ridicule of his peers, and his mother believes that all his problems are only fictitious. Then he finds salvation in communication with an imaginary friend Adolf Hitler, who is very different from the world famous Fuhrer. But one day the boy finds out that his mother is hiding a Jewish girl in the house.

Jojo Rabbit 4K Review
The clumsy boy Jojo (Roman Griffin Davis) lives in the Third Reich, losing the war, blindly loves his country and the Fuhrer and dreams of one day going to fight for a bright Nazi future. His mother (Scarlett Johansson) is much more skeptical of politics, and the head of local Hitler youths (Sam Rockwell) seems to have long been disappointed in the party. Most of all, Jojo wants to catch a Jew and bring him personally to Adolf, with whose imaginary version (Taika Waititi) the boy communicates in the most difficult life situations. And soon he gets a chance to do it - on the second floor of his own house he finds a hidden Jewish girl (Thomasine Mackenzie). But if he tells about it, the Gestapo will surely come for his mother, and the girl looks surprisingly normal - neither horns on your head, nor poisonous fangs. Apparently, Jojo will have to seriously review his personal views and landmarks.

Jojo's Rabbit is probably the most extraordinary Oscar winner of this year and the only one of the nominees, apart from Netflix products, who never made it to the national box office. It’s clear, of course, why: Disney (who now own Fox Searchlight, which means “Rabbit”) would hardly want to get involved with any political activists in a country that, 75 years after the victorious war, suddenly began to fear wildly swastikas (although Germany has already ceased). Now it’s even scary to write this word - look at it, knock on the door and ask for an exit — not like showing Nazi symbols on the wide screen of the cinema. Especially not in the film where Hitler, albeit imaginary, is not a demonic evil, but a funny jester with the face of New Zealand comedian Taiki Waititi.

Well, thank God - even if in the West many viewers (and critics too) could not calmly watch the film, complaining about his carefree attitude to the greatest tragedy of the 20th century, it is scary to imagine what would happen in Russia, which is more jealous of the heritage WWII. Another, however, popular position for criticism - partly taken up by our press - is almost diametrically opposite: they say, why should we listen to the next morality on the topic of nazi bad from a person who is as far from this topic as possible (both temporarily and geographically)? But, in my opinion - and, excuse me, I will have to write about Jojo’s Rabbit in the first person, his perception depends so much on personal experience - this very detached position is more honest than any pompous heroic pathos or glum attempts to expose the nerve of a post-war injury . In fact, the attitude of Waititi to war is very close to the attitude of the modern generation of young and younger, a generation of people who for the most part have not found living warring relatives and heard about the Great Patriotic War only from retelling of other people's stories (which, of course, are films). For us, war is not so close and terrifying reality as it was for Chaplin in 1940 or for Mel Brooks in 67th. And the abstract semantic field of symbols, refined morals and distilled meanings, processed, pursued and rethought so many times, that the very “reality” in it is very difficult to find.

Here, Waititi is not trying. Yes, and it would be strange if I tried - why would he, the Maori (albeit with Jewish roots) from New Zealand, go into someone else's story and pretend that she really hurt him somehow? For him, the Nazis are a purely cinematic embodiment of evil, and the Third Reich is obviously an unrealistic space from children's fantasies and night horror stories. Such a gingerbread state populated by doomed adults who behave like children out of hopelessness (the Rockwell character, like the hero of the Waititi from The Boy, is an inexpressibly tragic character, even if we don’t think about it). And obsessed children who, in principle, are influenced by catchy symbols and simple stressed slogans.

In general, Vaitichi brilliantly captures a childish view of the world — as he did in both the Boy and the Savage Hunt — probably because he partially did not get rid of him (at least that would explain why he works so cool with child actors). All of his truly authorial films - that is, subtracting "Real Ghouls", shot together with Jamein Clement, and the third "Torah" - take place in a not very friendly space and work with very tragic circumstances, but each time they deftly blur the drama with this childish immediacy . They paint the world as an endless playground, from which the heroes have to grow from time to time in order to come to terms with the surrounding horrors from unbridled escapism. In a sense, Jojo’s Rabbit truly resembles Roberto Benigni's Life Is Beautiful, with which he is often compared, but Benigni still told the story from an adult perspective and his escapism was, in fact, pretentious and artificial (and it should have been this is not a claim). Jojo’s Rabbit was shot as if the father’s character in Life Is Beautiful didn’t exist at all - the director’s optics are tightly attached to Jojo himself. And since Waititi really understands children, and not only pretends to understand, there is no place for gloomy palettes and all kinds of manipulations in this optics: after all, children are much easier to get used to everything, it is easier for them to distract and go into the sunny world of fantasies, even if there is a huge round darkness.

From here arises another specificity of the poetry of Waititi, which in the case of Jojo’s Rabbit is often blamed on him. Its tonal flexibility, allowing the film at the click of a finger to switch from an idiotic slapstick to a tearful tragedy and vice versa. In some ways, this is reminiscent of the approach of Poon Joon-ho or Martin MacDona - other screenwriters and directors who are often praised for their unconventional approach to the balance between comedy and drama. But only with them - even though both the greatest playwrights - all genre transits are scrupulously calculated and neatly executed, even if the authors do not think about it. They, if expressed through the characteristics of DnD, are an unambiguous "law-abiding good." Vaititi, on the other hand, is pure chaos, a man who seems to interfere with the ridiculous and sad without any system. But this lack of system again ideally lays down on his method, the infantile and at the same time hopelessly growing up look of a person whose whole psychology is on the surface, who have not yet had time to formulate complex concepts of bad and good, funny and sad, tasteless and elegant . And because everything is piled up, everything coexists and intersects in the most unimaginable proportions. Best of all, his approach is expressed by one scene from the same “Boy” - a film that was watched by clearly fewer people than he deserves. There, right in the middle of a comical and ridiculous dialogue between two children, suddenly, without any preparation, a piercing flashback arises, where an inconspicuous father cries bitterly over their bloodied mother. After that, the flashback disappears, as if nothing had happened the film returns to the dialogue, as if there wasn’t this sharp flash, as if the viewer was not sitting now, clutching his heart and not understanding what they had done to him.

“Boy,” by the way, brings us back to yet another curious side of Jojo’s Rabbit. The fact is that - despite the obvious distance of the author in relation to the topic and the obvious abstractness of the plot itself, which sounds like an idea for a sketch with SNL, this film is very ... personal. Vaititi moved from modern New Zealand to war Germany, but he took with him all the psychological triggers and refrains that stretched from one of his work to another. Again the ridiculous, infantile and, in fact, absent figure of the father - for whom the imaginary Hitler is just blown away. Once again, the fear of losing the mother - but what about the “Hunt for Savages”, that in the “Boy” it was the deceased mother that triggered a dramatic conflict (this is not entirely true, but there are intersections, say).

And even the choice of the Third Reich as a scene is interestingly explained by the director’s biography. Vaitichi once said that in childhood he was very fond of drawing swastikas everywhere - but each time he was frightened of his work and immediately drew a sign to the window. And the window - so as not to cause unnecessary suspicion - to the house (of course, that's why all the notebooks of Waititi were painted with houses). So when the heroine Thomasine Mackenzie turns to the hero, saying that he is “not a Nazi, but just a boy who likes swastikas”, it’s hard not to consider it as author’s self-therapy. Jojo's Rabbit is an attempt by the director to comprehend the fear not of Nazism as such, but of its symbols, which have long lost their original meaning. And according to Vaititi it turns out that you should not be afraid - after all, from any swastika you can always make a nice little house, and send Hitler from the kick with a fuck.