Jo-Jo Rabbit

steven clark · December 18th, 2019

Jo-Jo Rabbit is Taika Watiti's film about a boy and Hitler. Waititi, while a New Zealander and half-Maori, is also named Cohen, which tells you what his other half is, so be warned. He was the guy who directed Ragnorak, the Marvel epic about Thor with a black Heimdall and black Valkyrie, so be doubly warned.
Jo-Jo is an enthusiastic member of Hitler Youth.It's 1945, the war is ending, and he wants to be a good Nazi. Winningly played by Roman Griffin Davis, he;s lonely and neglected, but has a good friend in roly-poly Yorkie (Archie Yates), and their scenes together are one of the best things about the film, especially when Yorkie is drafted into the army and wears a uniform made out of paper that slowly dissolves...not far removed from the ersatz materials Germans had to adopt in the last days.
Jo-Jo's loneliness is offset by Hitler, who appears as an imaginary playmate, sort of an Aryan Harvey. Played by Waititi, he's farcical, wild, steals the scene, urges Jo-Jo to 'Heil me, man.' Jo-Jo, sent to training camp to prepare to fight the enemy, is taught by Captain Klenzendorf, indifferent to putting up a fight, obviously gay and, when Jo-Jo is tested to show his ruthlessness by killing a rabbit, he balks. Hitler consoles him. "Rabbits are noble, and they are courageous." Hitler's pep talk leads Jo-Jo to an outburst of wild, fanatical bravery, but a screw-up with a grenade kicks him out of class and he becomes a letter carrier.

Here comes his mother (Scarlett Johansson), beautiful, understanding, and has a secret. She's part of the resistance and hides Elsa, a Jew (Thomasin McKenzie) in the house. Jo-Jo discovers her, and they begin a debate over Jews and Germans, and why Jews are evil or not. They trade composers. "Wagner," Jo-Jo says. "Gershwin," counters Elsa. Politicians. "Bismarck. Rosa Luxembourg."

Elsa, taller then Jo-Jo, older and handier with a knife, gets the better of him. She is bemused by his statements, and tells him Jews "Are like you, but human." This implication of Jewish superiority even makes Hitler pause. "She's like a female Jewish Jesse Owens," he rumbles.

So, Jo-Jo rabbit is a movie about exposing racism, and critics love it. One said it is an upbeat Downfall, the movie about the last days of Hitler, and exposing Nazis as buffoons is the best way of destroying their beliefs, so it is said.

We see Jo-Jo walk past the town square where enemies of the Reich are publicly hanged every day. At the training camp, Rebel Wilson is one of the camp teachers, a one-dimensional role where she exults in having sixteen children and gets the kids ready for a 'nice book-burning.' Whee! Let's go burn some books, just like they did every day in the Reich, right? She also keeps misplacing her Luger.

I was completely unmoved. Not by the attempt to mix humor with pathos, but the half cliches about Nazis were fired off like rounds at a clay pigeon shoot. There were some good lines here and there (Hitler to Jo-Jo: "You're ten, Jo-Jo. Start acting like it."), but I was watching recycled material.

The scene where Jo-Jo has to kill a rabbit by snapping his neck to show how virile he is was something I've read in a few short stories. Johansson's dialogue, full of soft, hard-boiled lines calling him 'kid' seemed lifted from Kate Winslett's film The Reader.

Or Hitler hating Jesse Owens? No, he didn't, but who will research it?

Nazis here are silly, empty, ridiculous, and recall seasons of Hogan's Heroes, and I was reminded of The Producers, where Hitler was parodied as a queer with a boy friend. Jews really like showing Nazis as queers, as I note a recent book, Pink Swastika, bringing this up again.

In our official history Hitler must either be shown as a monster or clown. To show him as a man with rational interests or human concerns is Streng Verboten. Recalling The Downfall, Brono Ganz's subdued Hitler got a lot of praise from Germans and critics, but equal condemnation from Jews for showing him as human. When the TV miniseries Hitler: The Rise of Evil was shown, Jews immediately jumped on it, forced scenes to be rewritten to demonstate Hitler's madness, and every other commercial break had ads about the ADL.

The anti-semitism Jo-Jo describes in a diary he keeps shows Jews with forked tongues, horns, and tails. They worship the devil, and this seems more medieval then Nazi propaganda. There is no mention of Bolshevism, international finance, nor the stab-in-the-back of WWI...just cartoonish demonology. Elsa always shows up Jo-Jo's diary. Again, she says 'We're like you, but human." If you hate Jews, you're a child-like dupe.

But a lot of Jews thought goyim were subhuman. I remember a book about Boston that recalled how, when older Jews passed a Catholic church, they would spit on the sidewalk, and many refused to believe goyim had feelings of love for one another. Only Jews knew how to love.

I noted how Elsa is taller then Jo-Jo, physically more powerful, and it recalls a lot of commercials where you see white and black children, and many times, the black kids are taller, making the whites look up to them.

So, Jo-Jo Rabbit is just more indoctrination, another attempt to be hip and wise at the same time, part of that inevitable Jewish way we're supposed to admire and respect...and if we're too open in our disliking it, we need to be hunted down. Like rabbits? At least they aren't breaking our necks. yet.

In the end, Jo-Jo renounces Hitler and kicks him in the balls, sending Hitler sailing out the window. Jews really like kicking people in the balls. I first saw ball kicking onscreen in Butch Cassidy and the Sundance Kid, written by a Jew. Also, Mel Brooks did this in Young Frankenstein, when Gene Wilder kicks an old man in the balls. That turned me off.

For a supposedly hilarious movie, the audience the night I saw it was tepid. A Saturday night crowd of twenty-thirty somethings, with only a titter here and there. Even the running gag where five Gestapo agents keep appearing and everyone said 'Heil Hitler' five times in a row seemed stale.

1945 was when Germany suffered intense destruction and fought for its existence, but it all comes off as a joke. In the end Klenzendorf and his gay lover lead a charge wearing fag uniforms of his own design.

Also odd that near the end, Jo-Jo's town is occupied by Russian and American troops, both barely aware of the other's existence. Jo-Jo, now with Elsa and dutifully repentant, ends by dancing with her. Not a waltz or some such dance, but she leads him in a kind of hip-hop slow rut.

At least the cast was all white, and since it was a New Zealand film shot in the Czech Republic, the cast looks German.

Funny too how Jews love to play Hitler or Nazis. Even in WWII Hollywood, Jews vied for the Nazi parts, and I remember an interview with Mel Brooks in his heyday where he happily wore a Wehrmacht officer's cap on the cover of a magazine.

There have been recent films about Germans in WWII, like Donnersmark's Never Look Away and The Aftermath, films about Germans suffering in the war, but these seem to be ignored by critics, I assume because the films didn't deal with the precious Holocaust.

So, Jo-Jo Rabbit is 'daring', 'challenging', 'hilarious'...and pretty much the same Hymiewood schtick.

Gladiatrix · December 18th, 2019

Looks like ass cancer

Jojo Rabbit Trailer #1 (2019) \| Movieclips Trailers

Thread
Show Printable Version Email this Page
Display Modes
Linear Mode Switch to Hybrid Mode Switch to Threaded Mode

December 18th, 2019	#1
steven clark Senior Member Join Date: Dec 2003 Posts: 2,278	Jo-Jo Rabbit Jo-Jo Rabbit is Taika Watiti's film about a boy and Hitler. Waititi, while a New Zealander and half-Maori, is also named Cohen, which tells you what his other half is, so be warned. He was the guy who directed Ragnorak, the Marvel epic about Thor with a black Heimdall and black Valkyrie, so be doubly warned. Jo-Jo is an enthusiastic member of Hitler Youth.It's 1945, the war is ending, and he wants to be a good Nazi. Winningly played by Roman Griffin Davis, he;s lonely and neglected, but has a good friend in roly-poly Yorkie (Archie Yates), and their scenes together are one of the best things about the film, especially when Yorkie is drafted into the army and wears a uniform made out of paper that slowly dissolves...not far removed from the ersatz materials Germans had to adopt in the last days. Jo-Jo's loneliness is offset by Hitler, who appears as an imaginary playmate, sort of an Aryan Harvey. Played by Waititi, he's farcical, wild, steals the scene, urges Jo-Jo to 'Heil me, man.' Jo-Jo, sent to training camp to prepare to fight the enemy, is taught by Captain Klenzendorf, indifferent to putting up a fight, obviously gay and, when Jo-Jo is tested to show his ruthlessness by killing a rabbit, he balks. Hitler consoles him. "Rabbits are noble, and they are courageous." Hitler's pep talk leads Jo-Jo to an outburst of wild, fanatical bravery, but a screw-up with a grenade kicks him out of class and he becomes a letter carrier. Here comes his mother (Scarlett Johansson), beautiful, understanding, and has a secret. She's part of the resistance and hides Elsa, a Jew (Thomasin McKenzie) in the house. Jo-Jo discovers her, and they begin a debate over Jews and Germans, and why Jews are evil or not. They trade composers. "Wagner," Jo-Jo says. "Gershwin," counters Elsa. Politicians. "Bismarck. Rosa Luxembourg." Elsa, taller then Jo-Jo, older and handier with a knife, gets the better of him. She is bemused by his statements, and tells him Jews "Are like you, but human." This implication of Jewish superiority even makes Hitler pause. "She's like a female Jewish Jesse Owens," he rumbles. So, Jo-Jo rabbit is a movie about exposing racism, and critics love it. One said it is an upbeat Downfall, the movie about the last days of Hitler, and exposing Nazis as buffoons is the best way of destroying their beliefs, so it is said. We see Jo-Jo walk past the town square where enemies of the Reich are publicly hanged every day. At the training camp, Rebel Wilson is one of the camp teachers, a one-dimensional role where she exults in having sixteen children and gets the kids ready for a 'nice book-burning.' Whee! Let's go burn some books, just like they did every day in the Reich, right? She also keeps misplacing her Luger. I was completely unmoved. Not by the attempt to mix humor with pathos, but the half cliches about Nazis were fired off like rounds at a clay pigeon shoot. There were some good lines here and there (Hitler to Jo-Jo: "You're ten, Jo-Jo. Start acting like it."), but I was watching recycled material. The scene where Jo-Jo has to kill a rabbit by snapping his neck to show how virile he is was something I've read in a few short stories. Johansson's dialogue, full of soft, hard-boiled lines calling him 'kid' seemed lifted from Kate Winslett's film The Reader. Or Hitler hating Jesse Owens? No, he didn't, but who will research it? Nazis here are silly, empty, ridiculous, and recall seasons of Hogan's Heroes, and I was reminded of The Producers, where Hitler was parodied as a queer with a boy friend. Jews really like showing Nazis as queers, as I note a recent book, Pink Swastika, bringing this up again. In our official history Hitler must either be shown as a monster or clown. To show him as a man with rational interests or human concerns is Streng Verboten. Recalling The Downfall, Brono Ganz's subdued Hitler got a lot of praise from Germans and critics, but equal condemnation from Jews for showing him as human. When the TV miniseries Hitler: The Rise of Evil was shown, Jews immediately jumped on it, forced scenes to be rewritten to demonstate Hitler's madness, and every other commercial break had ads about the ADL. The anti-semitism Jo-Jo describes in a diary he keeps shows Jews with forked tongues, horns, and tails. They worship the devil, and this seems more medieval then Nazi propaganda. There is no mention of Bolshevism, international finance, nor the stab-in-the-back of WWI...just cartoonish demonology. Elsa always shows up Jo-Jo's diary. Again, she says 'We're like you, but human." If you hate Jews, you're a child-like dupe. But a lot of Jews thought goyim were subhuman. I remember a book about Boston that recalled how, when older Jews passed a Catholic church, they would spit on the sidewalk, and many refused to believe goyim had feelings of love for one another. Only Jews knew how to love. I noted how Elsa is taller then Jo-Jo, physically more powerful, and it recalls a lot of commercials where you see white and black children, and many times, the black kids are taller, making the whites look up to them. So, Jo-Jo Rabbit is just more indoctrination, another attempt to be hip and wise at the same time, part of that inevitable Jewish way we're supposed to admire and respect...and if we're too open in our disliking it, we need to be hunted down. Like rabbits? At least they aren't breaking our necks. yet. In the end, Jo-Jo renounces Hitler and kicks him in the balls, sending Hitler sailing out the window. Jews really like kicking people in the balls. I first saw ball kicking onscreen in Butch Cassidy and the Sundance Kid, written by a Jew. Also, Mel Brooks did this in Young Frankenstein, when Gene Wilder kicks an old man in the balls. That turned me off. For a supposedly hilarious movie, the audience the night I saw it was tepid. A Saturday night crowd of twenty-thirty somethings, with only a titter here and there. Even the running gag where five Gestapo agents keep appearing and everyone said 'Heil Hitler' five times in a row seemed stale. 1945 was when Germany suffered intense destruction and fought for its existence, but it all comes off as a joke. In the end Klenzendorf and his gay lover lead a charge wearing fag uniforms of his own design. Also odd that near the end, Jo-Jo's town is occupied by Russian and American troops, both barely aware of the other's existence. Jo-Jo, now with Elsa and dutifully repentant, ends by dancing with her. Not a waltz or some such dance, but she leads him in a kind of hip-hop slow rut. At least the cast was all white, and since it was a New Zealand film shot in the Czech Republic, the cast looks German. Funny too how Jews love to play Hitler or Nazis. Even in WWII Hollywood, Jews vied for the Nazi parts, and I remember an interview with Mel Brooks in his heyday where he happily wore a Wehrmacht officer's cap on the cover of a magazine. There have been recent films about Germans in WWII, like Donnersmark's Never Look Away and The Aftermath, films about Germans suffering in the war, but these seem to be ignored by critics, I assume because the films didn't deal with the precious Holocaust. So, Jo-Jo Rabbit is 'daring', 'challenging', 'hilarious'...and pretty much the same Hymiewood schtick.