Contemporary society is in crisis. Across the western world we are experiencing social and cultural division like never before over what values define societies. Social liberals may live alongside, but never converse with, those of a more socially conservative inclination. There is little agree about the extent of free speech, who is fair game, what counts as comedy and where the boundaries for amusement lie. One person’s comic genius is another’s offensive provocateur, someone’s idea of a snowflake is someone else’s idea of being considerate in changing times.
These words: virtue signalling, political correctness gone mad, woke have erupted - on twitter at least - to define who we are. Instead of economics shaping one’s position on the world, views on free speech, belonging, identity - the culture wars if you will - have a more significant influence in shaping our social views. I have found this evolution to be particularly relevant when watching ‘Jojo Rabbit’ at the cinema last week. It is a film I had seen advertised since the Christmas holidays with posters at bus stops galore in anticipation for the new year of movies. The poster specially intrigued me because of the bizarre facial expressions of the characters and, it must be said, the quirky title. Like most of my cinema experiences, I like to go in knowing as little as possible. Trailers can be useful for giving a general overview, but they are never the same as experiencing something for the first time in full. The film is essentially a satirical take on Nazi Germany, focusing on a young boy, Jojo (Romain Griffin Davis), who is desperate to join the Hitler Youth. It is so tricky to discuss Nazi Germany. Of course, the regime was one of the most repulsive, wicked and truly vile organisations in history, demonstrating the worst aspects of humanity. Thankfully, it is a period widely studied. I take the conventional view that to forget history means one is doomed to repeat it. Given their recency in the 20th century, also known for being a fine period of scientific innovation, children must learn about the horrors of Nazi Germany and Stalinist Russia. The extent with which Hitler’s Germany is studied does, however, mean Godwin’s Law is as accurate as evolution or gravity. Any conversation - again, especially on twitter - that continues for a long period of time will eventually descend into comparisons of Hitler or Nazis. Political opponents that we wholeheartedly disagree with are labelled as Nazis and fascists. Its frequency in political discourse has diluted the true horror and evil that the name and ideology deserves. This is now also reflected in culture. There are multiple fictional books depicting life in Auschwitz, trying to provide understanding of life inside the death camp. Though the individuals in the books may be fictional, we emphasise, as I often do, with the struggles and life of any fictional protagonist. I have wondered recently though whether the commercialisation of Nazi Germany into modern culture is the most effective way of learning about a period that requires attention. There is almost something grotesque about the repeated similar front covers that depict life behind the wire, infantilising those who have had to suffer the most traumatic of conditions. To some extent, I felt this way with regards to the first third of Jojo Rabbit. Not least because the film commences with Jojo chatting to his imaginary friend Adolf (Taika Waitti) who behaves in a most casual and extravagant manner. His personality is that of a harmless old friend, motivating Jojo forward to join the Hitler Youth and all the terror that involves. And yet, even though I knew early on the film was satire, I couldn’t help but feel uncomfortable. This mass murderer - a parody of him - was conversing with a young child who held him in utter admiration. Though Hitler was clearly being mocked, hardly the military leader he so aspired towards, the portrayal almost simplifies the individual of his crimes and absolved him of responsibility. The same was the case at the Hitler Youth camp. The children all eagerly took part in activities, males and females split into traditional gender roles, their relaxed nature towards Nazism and total devotion to Hitler was frightening to watch. There was no opposition to the monstrosity presented, no rational voice to provide the alternative view. Instead it was left to Rebel Wilson who played Fraulein Rahm, a clearly mad and manipulative instructor as part of the Hitler Youth Camp, to spread the propaganda. I’ve noticed that, in whatever film she appears in, Wilson always seems to portray her characters in the same way. I couldn’t help but question whether that was appropriate for such a serious subject matter. Of course, I had to keep reminding myself that this wasn’t a historical film. Yes, it was set in the past but it was a comedy of Nazi Germany. This was not ‘The Boy in the Striped Pyjamas’ or anything like that. I had to remember to view the film through a different lens, through one of recognition of what madness individuals were willingly indoctrinated into. The only sign of dissent, initially, came from Captain Klenzendorf (Sam Rockwell), the leader of Jojo’s Hitler Youth camp. And even that was not moral outrage but simply indifference at having to pass the time helping youngsters instead of engaging in warfare. It was damning and demoralising to witness. However, Jojo Rabbit was not a film I loathed, or felt anything close to loathing. Indeed, I almost began to enjoy the spectacle after the first third, when Jojo returns home with a permanently damaged face after setting off a hand grenade (as you do). There we are able to meet his mother Rosie (Scarlett Johansson) bringing up her young son alone. It is evident she has nothing but opposition towards the Nazi regime. At first, her son’s love for Hitler merits just a roll of the eye. Eventually her full blown outrage is known as she distributes leaflets in an incognito manner expressing opposition to the regime and support for freedom. I felt pleased to see some representation of characters who weren’t willing to appease such a regime. It does raise the question - worthy of a Moral Maze episode - of the balance of standing up for one’s beliefs, even when it may put an individual and their family at risk. Generally, I thought the acting was superb, not least from Griffin Davis. His ability, at such a young age, to convey Jojo’s complete obsession with the Nazi regime, specifically its leader, was second to none. It shows how the Nazi regime were able to replace belief in God with belief in the leader, a deity who could never be challenged and was only correct. We see time and time again how his belief combats all else, the ideology of Hitler framing his every action. From vile language about Jews to a belief in individual supremacy, Jojo, thanks to his naivety, regards those who don’t conform or fit as the other, something to be feared and disposed of. The film, despite its storyline and satirical dimensions, manages to retain some profound aspects. There is clear love and devotion, with Rosie eternally loving her son, whatever poison may come out of his mouth. It is this compassion and humanism that leads Rosie to house a Jewish girl, Elsa (Thomasin McKenzie) who, despite all her fears, manages to engage in a friendship with Jojo. There are repeated questions of family loyalty and definitions of who belongs. While society may be plagued by division, this only reflects the individual conflict facing every character we meet. In the end, the film reveals to me vast elements of shame. There is the shameful horrors of war, not least with the involvement of children who are just so young and vulnerable, however soldierlike they may try to act. In the end, Yorki (Archie Yates), a friend of Jojo’s from Hitler Youth, remarks that he simply ‘needs a cuddle.’ That statement is one that can bind all of society together, for it displays how, even in a film with such a sensitive subject matter, we are all in need of love, hope and compassion from others.
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