Some movies defy description, which is to their advantage. Some are so audacious that one wonders how they were ever made, and Jojo Rabbit certainly qualifies on that score. It’s a comedic drama about a young Nazi learning the realities of life during World War II, with eyeopening elements that include Adolf Hitler as an imaginary buddy, wildly disparaging words and drawings of Jews, childhood disfigurement and, of course, puberty.

Taika Waititi’s film pretty much defines the work of an auteur. He writes, directs and portrays Hitler (because, he says, he figured nobody else would want the role). Ten year-old Johannes Betzler (Roman Griffin Davis) is a very patriotic German, evidenced by having Hitler as his imaginary friend. He is injured while training to be a soldier, but his devoted mother (Scarlett Johansson) forces his commanding officer (Sam Rockwell) to keep him busy and protect him. What his mother doesn’t tell him is that she is hiding a Jewish girl, Elsa (Thomasin Mackenzie) in their attic. Jojo finds her, which begins his journey from young starry-eyed patriot to a wounded soul who has seen too much for his years.

The film is a satire, a form of comedy which skirts the line between hard truth and keen absurdity so closely that it can easily offend. Indeed, there are scenes and dialogue that are uncomfortable to watch. On the other hand, some of the dialogue and hijinks are darn funny, and Jojo is such a nice (if misguided) kid that he always has viewer empathy. It kind of plays like “Hogan’s Heroes” because the Nazis are bumbling and foolish, but an undercurrent of danger always lies close beneath the surface. And the film has one absolutely heartbreaking moment which drives its drama home with fearsome power.

Adding to the incongruity of watching a young boy celebrate fascism, the music used is anachronistic (The Beatles, David Bowie, etc., singing in German) and much of the climactic battle is played out in slow motion. The result is a bold, resonant statement about the simple need for people to be kind to each other. This movie isn’t for everyone, but there is no denying that it is a one-of-a-kind work of art, perhaps reflective of our current political divisiveness, that begs for basic humanity and understanding. ☆ ☆ ☆. 17 November 2019.