TIFF 2019 review: JOJO RABBIT is a sweet Nazi comedy that pulls too many punches

Perhaps even more so than Joker, Taika Waititi’s Jojo Rabbit has been one of the most divisive films at TIFF this year, which shouldn’t be too much of a surprise given its premise. The film is essentially a coming of age story set at the tail-end of Nazi Germany. Jojo Betzler (Roman Griffin Davis) is a 10-year-old boy trying his best to win the heart Adolph Hitler, who he also communicates with as his imaginary friend. Portrayed by as a bit of a lunkhead by Taika Waititi, Hitler provides emotional support and encouragement towards young Jojo as he tries to unsuccessfully make his way as a Hitler Youth. But soon enough Jojo discovers that his mother Rosie (a very bubbly Scarlett Johansson) is harbouring a secret in their home; a young Jewish girl named Elsa (Thomasin McKenzie), who Rosie is hiding in the upstairs wall of their home.

You can almost predict where things will go from there, as young Jojo begins to communicate with the first Jew he’s ever encountered, who just so happens to be a young girl secretly living in his home. Apart from the ever-present Nazis, much of the story almost plays out like a John Hughes film, with a pair of opposing kids learning from each other as they are forced to spend time together.

The relationship between Jojo and Elsa is the sweet beating heart of the film, but the notion that a goofy Hitler often appears out of nowhere as a comedic sidekick can be a tough emotional adjustment to make. The fact that this version of Hitler lacks any sense of menace for most of the film means that we’re essentially looking at any one of the lovable characters Waititi has played over the years, albeit with a worse haircut and a Nazi insignia on his arm.

One of the major issues with the film is that apart from the imaginary Hitler, the rest of the Nazis we meet are similarly goofy. There’s the hilarious one-eyed Captain Klenzendorf (a scene-stealing Sam Rockwell) and his constant right-hand man Finkel (Alfie Allen), who are joined by the out-to-lunch Fräulein Rahm (Rebel Wilson). The three make for an incredible comedic trio, but we never see even a glimpse of the evil ideologies and actions of the Nazis — everything is played strictly for laughs. Yes, this is a comedy, but robbing the Nazis of all of their menace (especially these days where Nazis are comfortable enough to once again march in public) seems fairly tone-deaf, even with the film’s well-meaning message of love and respect.

The film does feature a few moments that really bring home the evil at the heart of the Nazi regime, but they’re offset by all of the hijinx and laughs that make up the majority of the film’s running time. Jojo Rabbit is being billed as an “anti-hate satire,” but the film works best when it concentrates on the evolving understanding between Jojo and Elsa, and less on the wacky antics of all those silly Nazis. Nevertheless, Jojo Rabbit is a lot of fun. The film is filled to the brim with great performances, and the idea of lampooning Nazis is always welcome.

But there is still an uncomfortable chasm between the silliness portrayed on-screen and the true horrors perpetrated by the Nazis. Maybe it was easier to laugh off the Nazis when The Producers hit screens in the 60’s, but it’s difficult to fully embrace Jojo Rabbit when Nazi ideologies are on the rise worldwide. Then again, there is a collective power to laughter, and this might be Waititi’s way of confronting that rising tide of boneheads. It’s just unfortunate that the film never really wrestles with the darkness behind its premise, which can’t help but feel like a bit of a missed opportunity.

Jojo Rabbit is in theatres October 18.