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#his best quality: jojo's levels of intimidation
maskyartist · 1 year
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You know I gotta be predictable when it comes to Oz
Cough cough if you’re up to drawing N! Oz then please-
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SEE I COULDNT FIND THE REF ON UR BLOG N I FORGOT TO JUST ASK U FOR HIM??? SO I DID IT OFF MEMORY IM SO SORRY
anyways stan caked up necromancer Oz :)
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constakes · 4 years
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Damn, Jojo’s Got Mojo
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By Conor O’Farrell
After weeks of high anticipation, I recently got the opportunity to leap down the rabbit hole into Taika Watiti’s fantastical Nazi Germany. It’s status as imaginary is indicated to us iin a variety of ways, from an outrageous childlike representation of infamous facist leader Adolf Hitler (played hilariously by Watiti himself) all the way to the strangely strong British accent of Hitler Youth Yorki (not detracting from the charm of Archie Yates in the slightest). However, in spite of its ridiculousness, this film possesses a depth that took me by surprise not because of its presence, but moreso the sheer magnitude of said depth. With the critical world currently divided over the quality of Jojo Rabbit, I’m swinging one way and one way only. This is a brilliant film, hands down.
When the opening credits scene has you laughing out loud in the cinema, as your subconscious consideration for the experiences of other moviegoers goes out the window, it’s very often a positive sign (unless it’s laughably bad I guess). The first half of the film that follows operates in a similar fashion, mercilessly mocking perhaps the most notorious regime in human history. Whether it’s Captain Klezendorf, played fantastically by Sam Rockwell, showing off his firearm flair to youth campers by hitting targets from all angles or fellow campmates being instructed to perform squats in gas masks as wartime endurance training, this film rightfully reserves no respect for Nazi Germany, both drawing hard laughs out of an audience shocked by the taboo unfolding on-screen whilst on a deeper level working to discredit a reign whose dark shadow still looms over the modern world. The consistency of jokes and gags also ensures a balance that a trapeze artist would be proud of, while heavier moments are disguised so well amongst the film’s light-hearted aspects that when they arrive, they hit so damn hard. It’s truly miraculous how well this film is tonally balanced, as humour and weight cooperate in ying-yang style to create an experience that is both enjoyable and moving.
This depth only increases in profundity when considering the film’s underlying messages. Watiti chooses to use this platform to preach unity over division, because ultimately as humans more binds us together than what separates us. For instance, Scarlett Johansson’s Rosie recites blissfully “love is the strongest thing in the world” in an exchange with her son truly telling of Taika’s intentions. Also, the satirising of the Nazi regime finds further significance in the fact that symbolically, it uncovers the true ridiculousness of hate and indoctrination. I don’t know how else I can put it, this is nothing short of a masterstroke.
An inspired narrative from Watiti (based off Christine Leunen’s darker novel Caging Skies) is supplemented by outstanding acting performances across the board. I get that I’ve glowed about a few already, but in this instance teamwork really does make the dream work. Particularly, young Roman Griffin Davis (one to watch closely for the future) is spectacular as Johannes Betzler, shrugging off the pressure that comes with the ‘protagonist’ title to show a maturity far beyond his years whilst possessing a child’s charm. Scarlett Johansson is similarly remarkable (just check the ‘Best Supporting Actress’ category for the upcoming Oscars, need I say more?). Otherwise, newcomer Thomasin McKenzie shines as the soft-spoken Jew in-hiding Elsa, Stephen Merchant aces it as the intimidating Gestapo agent Hermann Deertz and it’s business as usual for cameo queen Rebel Wilson in her role as camp instructor Fräulein Rahm.
If slapstick doesn’t tickle your fancy, there’s the more clever gaffs to look forward to. If you get uncomfortable with the satire, you will be put at ease through the emotional moments. What I’m trying to say is this movie should make you laugh (probably guiltily at points) and might make you cry (my eyes got watery, no shit) but ultimately you’ll leave the cinema feeling satisfied, optimistic and uplifted. So if you haven’t quite got the gist yet, see this film ‘cause it’s fucking awesome.
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