One of the fest’s most divisive films tries to weaponize a WWII coming-of-age story with sick humor—and largely succeeds
’s Hitler comedy” ever since the project was announced, a double-take-inducing distinction that it leans into with gusto. From the moment that the New Zealand writer-director shows up asgiving the lad a pep talk and bounding out of the house with him to the Beatles’ “I Wanna Hold Your Hand” , this already divisive movie announces its declaration of irreverence in bold italicized font. It’s going to mess with some loaded iconography. Giving the world a goofy God of Thunder? That’s one thing.
Übermensch material leaves him slightly disfigured, his mother gives him a reprieve from gung-ho duty. While she’s out one day, Jojo hears a noise upstairs. This is Elsa , a young Jewish woman hiding in their attic. She’s just a girl — no horns, no fangs, nothing that Jojo has been told characterizes the people he’s been taught to despise. The disparity is causing a schism in his head. And it’s a complication that’s making Imaginary Best Friend Adolf H. very, very cross.
The idea of history’s boogeyman as a make-believe pal isn’t in the source material, Christine Leunens’ 2008 novel— it’s an element that Waititi introduces into the film. But it is an important addition to the narrative, given that it takes place in a genre that’s in danger of itself becoming a joke. People can and will still make effective WWII dramas told from the viewpoint of those who suffered through unthinkable horror.
manic pixie dream mom, of claiming that a camera move that caused the premiere’s audience to audibly gasp is manipulative , that tryingBut it’s that exact combination that somehow makes both halves work. The broadness of Waititi’s “Shitler” acting petulant and jumping out of windows, of kids inadvertently blowing buildings up with bazookas, of Rockwell’s military buffoon and Stephan Merchant doing a riff on‘s reptilian Gestapo villain, actually knocks you out of a comfort zone.
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