Jojo Rabbit

Jojo Rabbit has been on Taika Watiti’s plate for several years, citing scheduling and budget issues as to why it’s not been developed until now. In reality, it’s hard to imagine anyone taking the punt on a comedy featuring the Hitler Youth and an imaginary Führer best friend without his current level of cachet.

Waititi has developed quite a particular comedy style. With his fellow What We Do in The Shadows brethren, he’s become synonymous with the kind of witty, awkward, absurdist shtick that has gained him such favour. Hunt for the Wilderpeople was a delight, as are his earlier, lesser seen films such as Eagle vs Shark and Boy.

Waititi’s recent recruitment to the MCU to write and direct Thor: Ragnorok was a really interesting and inspired choice. His specific comedy style coming through strongly and really adding a new flavour to the Norse God’s story. At times it could have been accused of feeling a little incongruous, but the way Marvel have begun to spread their wings a little and incorporate more varied personalities into their filmmaking has been welcomed.

Jojo Rabbit has been adapted by Waititi from Christine Leunen’s Caging Skies. Similar to Ragnorok, you can see the injections of his distinct style, most notably – but not limited to – his imaginary-friend Hitler character. It’s when the film veers from this that it feels a little less confident, and at times clumsy.

Obviously the subject matter is one that will divide opinion. I think, however, if you’ve found yourself in the cinema, you’re on the side of the fence that will permit an ‘anti-hate comedy’ in this taste. However, throughout the runtime you’re conscious of this balancing act; while mainly successful, it is burdened with this pressure.

There’s an obvious visual comparison here to a Wes Anderson film, in particular Moonrise Kingdom. In Anderson’s films, if the momentum of the middle acts can drag, you have his visual rigour and inventiveness to enjoy. Jojo Rabbit does occasionally suffer with pacing, similar to some of Waititi’s earlier films. However, despite aspiring to be, he’s is not yet quite a master of these other style elements,.

The final act brings everything together as you’d expect, and the overall ‘anti-hate’ tone is pulled off successfully. If some moments along the way are a little awkward or less sure-footed, there’s enough here to conclude that the gamble’s paid off for the director. A director continuing to hone his craft, and one who certainly can’t be accused of taking on easy subjects.