Spike Jonze and Charlie Kaufman just can't get away from each other. “Her,” the director's fourth feature, was initially believed to be a Jonze original. He is the only writer officially credited with the screenplay. It's premise – a lonely man falls in love with his computer's operating system – certainly seems in Kaufman's wheelhouse though. Later, we learned that Kaufman did some uncredited rewrites on the movie, which explains that. The film, the director's latest, would be another critically acclaimed hit, out-grossing its budget and winning one Academy Award and being nominated for four others.
It's the near future. Theodore Twombly, who works for a company that writes letters upon request for other people, is currently going through a divorce with his longtime wife. Lonely and unlucky in love, Theodore buys a new, high-tech operating system. The artificial intelligence names itself Samantha and begins to communicate with Theodore. She's smart, funny, and knows everything Theodore is thinking. Theodore quickly falls in love and Samantha shares his feelings. However, having a romantic relationship with an operating system comes with its own problems.
Science fiction is full of far-out depictions of the future. Usually these veer towards the implausible. The exact time period “Her” takes place in is never specified. However, I'd wager it's bound to be one of the more realistic depictions of the future. Things look more or less the same as they do now. It's mostly the hardware that's different. Computers are tiny handheld devices that are primarily voice activated. Even chat rooms are operated by voice. Video games are large holographic programs, the user interacting with them via hand motions. It's a world that extrapolates from currently existing technology, suggesting a future that seems pretty plausible.
I'm probably way off, as “Her” is most concerned with more worldly ideas. It's a story about loneliness and love. Theodore's loneliness is reflected in his solitary work environment and empty apartment. Even when he's with Samantha, he's often literally alone, as she's never physically with him. The loneliness brings the two of them together, as Samantha often expresses a sense of isolation too, a computerized voice in a cyberspace void. They compliment one another, Samantha getting Theodore out of his apartment and Theodore giving Samantha a sense of self in the physical world.
Joaquin Phoenix has become well-known for giving intense in auteur projects. “Her” finds him in a far more relaxed form. With a bristly Ned Flanders mustache, a pair of thick glasses, and high-waisted pants, he’s not immediately recognizable. As Theodore, he’s a soft-spoken, withdrawn, shy man. Phoenix makes the hurt the character is obviously suffering from apparent on his face and in his body language. He’s tired and sad at most times but doesn’t most people see it. When Samantha comes into his life, he’s suddenly re-energized. Yet Phoenix doesn’t let the character’s self-centered side go either. Theodore is sweet and hurting but he’s also prickly and prone to selfish fits. It’s a well-rounded, well realized performance.
The focus is primarily on Phoenix and Johansson but “Her” features a strong supporting cast too. One way the film bumps up against wish fulfillment is by giving Theodore a succession of beautiful girlfriends. His ex-wife is Ronney Mara, his platonic best friend is Amy Adams, he nearly sleeps with Portia Doubleday, and he goes out on a hot date with Olivia Wilde. The film fends this off with the strength of its cast. In her little amount of screen time, Wilde projects a raw vulnerability. Doubleday has a similar attribute, though her character has less to do. Adams consistently brings a light presence to her scenes, being charming and sweet. Mara, meanwhile, is powerful and forceful during a key moment, where she calls Theodore on his bullshit.
The idea of a romance between a human and a computer certainly seems tawdry. It's a premise that has been mined for other movies, like cult comedy “Electric Dreams,” and various anthology TV shows. “Her” does, indeed, feature a sex scene between Theodore and Samantha. However, it's far from sleazy. Instead, the scene is approached with genuine eroticism. The first love scene is conveyed primarily through their voices. Eventually, the scene fades to black, forcing the audience to focus solely on their voices. The focus is more on the characters' feelings then how their bodies intertwine. It's an astonishingly well executed sequence.
Spike Jonze's visual design continues to evolve in interesting ways with “Her.” The director smartly utilizes color, making a contrast between Theodore's at-first sterile environments which become more colorful after he meets Samantha. The director also creates a mood where characters are haunted by their memories and past mistakes. The film is often interspersed with Theodore's memories of his marriage, his fantasies, and his latest adventures with Samantha. This is most powerful near the end, where a trip to a snowy cabin takes on new meaning. A sequence where Theodore goes running after his O.S., fearing her gone, also features some “Where the Wild Things Are”-style handheld work.
“Her” also sees Jonze re-teaming with Karen O. of the Yeah Yeah Yeahs. O. contributes a song to the film, “The Moon Song,” a delightfully sweet and whimsically sparse number that managed to charm its way to an Oscar nomination. Most of the score is provided by Owen Pallett and the indie rock band Arcade Fire. In addition to also including a song, a decent number called “Supersymmetry” that plays over the end credits, the band's score is a mix of sparse and rich. Gentler sounds contrasts with softly vibrating instrumentation. Sometimes, a more lyrical melody emerges, usually signaling a more emotional moment for the characters. It's a score that works for the film, though isn't especially listenable on its own.
Since “Her,” Spike Jonze has stayed fairly quiet. He's directed a few music videos – for Lady Gaga, Arcade Fire, and Kayne West – but has mostly been working as a producer. He's produced several television series for the fledgling Viceland network. Whether or not he has a new film in development, I don't know. I can imagine the director has something cooking somewhere. I look forward to it, whatever shape that takes, as all four of his features have been pretty fucking great.
I'm sorry this short Director Report Card took so long to complete. I have no one but myself to blame. I'll try to do better going forward. Thank you for reading.
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