by Steve Habrat
Ever since his surreal 2009 children’s fantasy Where the Wild Things Are, indie director Spike Jonze has remained relatively low-key. In the years following that wildly popular screen adaptation of Maurice Sendak’s beloved tale, Jonze has filled his time with a few acting gigs, a skateboarding video or two, a handful of music videos, and some writing/producing duties. After four long years, Jonze finally returns as director for Her, the celebrated futuristic love story that has been gaining quite a bit of momentum this awards season. Also written by Jonze, Her is a film that is alive with vision and originality, a resonant love-story for a world that has developed an alarming addiction to the glow of their smartphones, tablets, and laptop computers. While certainly a beautiful film with a truly fascinating premise, Her, like Jonze’s last feature film, begins to drone on the viewer. The initial “wow” factor only carries it so far before it begins to grow repetitious, never really knowing where it should cut itself off. Luckily, your growing loss of electronic enchantment will be rescued by star Joaquin Phoenix, who gives an outstanding performance as the heartbroken writer who falls head over heels for his brand new operating system.
Her picks up in futuristic Los Angeles and introduces us to Theodore Twombly (played by Joaquin Phoenix), a lonely man nursing a broken heart over the recent separation from his wife, Catherine (played by Rooney Mara). By day, Theodore works as a writer for a company that composes personal letters for those who don’t quite know what to say, and by night, he sulks home to play video games or fidget around restlessly in his bed. One day, Theodore decides to purchase a new artificially intelligent operating system (voiced by Scarlett Johansson) that is capable of interacting just like a regular human being. Impressed by the operating system’s abilities, Theodore strikes up a casual friendship with the new AI, sharing tidbits of information regarding his messy separation from Catherine. After a botched blind date with a beautiful woman (played by Olivia Wilde), Theodore finds himself romantically drawn to the operating system, which also appears to have developed romantic feelings for him. With his newfound love and the help of his close friend Amy (played by Amy Adams), Theodore begins pulling himself out of his slump, but the challenges of dating an operating system arise and put the relationship to the test.
If you’ve ever imagined what it might be like if Apple started making live action movies, Her gives you a pretty good indication of what the computer company’s type of movie might be like. Jonze fills the screen with soft pastel colors and sleek views of a futuristic Los Angeles—a squeaky clean metropolis where everyone shuffles about with tiny white earpieces stuffed in their ears and the glow of a smartphone screen reflecting off their down pointing faces. The overhead shots of the city are so crisp and clear that they would be perfect as the screensaver on your MacBook Pro with retina display. It’s all absolutely gorgeous to take in, even if it is glaringly obvious at times that this futuristic American city is actually just a shimmering Shanghai. On its own, the visual lyricism of Her consistently keeps your eyes wide—it’s a digital dream world that would have made Steve Jobs drool and storm off to his Apple boardroom to demand that his staff get to work on updating Siri. While Jonze keeps a firm grip here, his story, which I should reiterate is extremely original and inspired, is so thorough in the way it explores a relationship that it nearly ceases to fill us with wonder and instead begins to mildly drone on the viewer. It’s perfectly fine that he wanted to tell this digital romance in a convincing and personal manner, but the ups and downs of Theo and Samantha’s relationship begin to grow repetitive and exhausting, numbing us slightly to the couple’s conclusion.
Though you may drift out a bit, star Joaquin Phoenix gives Her a strong emotional pull that yanks you back into the picture. Phoenix is a raw nerve as Theo, our sensitive and aching hero who is adrift in this digital world. He sulks from the office with his frown hidden under a mustache, seeking escape from his pain in an encompassing video game he obsesses over. When Samantha asks if he wants a pair of emails regarding his divorce read to him, he gives a quivery objection and fights back tears. When Samantha begins to pull him out of his hole of sadness, you’ll smile over his newfound delight as he dances through a bustling fair. Phoenix gives Theo such tenderness and vulnerability that you can’t help but root for this unusual romance to really make it, even if there are points where it makes you squirm from its awkwardness. Guiding Theo out of this rut is Johansson’s husky voice, which she lends so wonderfully to Samantha, the operating system that has won Theo’s heart. While we never see her, Johansson is able to convey so much emotion that you’d swear she was ready to manifest right next to our hero. As far as the supporting cast goes, Amy Adams gives another spectacular performance as Amy, Theo’s understanding best friend who is also facing heartbreak. Rooney Mara is prickly as Catherine, Theo’s childhood sweetheart who has shattered his heart into a million little pieces. Olivia Wilde rounds out the cast in a brief role as a sexy blind date who quickly sours to the sadsack Theo.
While the stunning cinematography and the candid performances are truly special, the real beauty of Her lies within the plausibility of its script. With the way that technology has been rapidly advancing over the past several years, it isn’t that far-fetched to think that operating systems could be this advanced ten to twenty years down the line. The smartphones now come equipped with personal assistants that can look up internet trivia, tell jokes, send text messages, bring up emails, and make phone calls all at your request. This story also speaks to the creativity that lies within Jonze, who wrote the script and just nabbed a Golden Globe for his work. It truly is remarkable that Hollywood gave the script a chance considering that most romantic dramas have evolved only to the point of having unhappy endings where boy doesn’t necessarily end up with girl. Overall, while the imagination, vision, and performances are all magnificent, Her could have done with a software update to clear out a few bugs. I understand that Jonze wanted to really sink his teeth into this peculiar romance and envision it from every angle possible, but there are stretches of dead space that allow the magic to seep out.