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Spike JonzeForgatókönyvíró:
Spike JonzeOperatőr:
Hoyte van HoytemaSzereplők:
Joaquin Phoenix, Amy Adams, Scarlett Johansson, Rooney Mara, Olivia Wilde, Chris Pratt, Matt Letscher, Portia Doubleday, Sam Jaeger, Katherine Boecher (több)Tartalmak(1)
Mindenki igazi társra vágyik. Olyanra, aki figyel, aki megért, aki segít, és aki szeret. Theodore (Joaquin Phoenix) nagyon lassan heveri ki a válását, egyedül él, és nem barátkozik könnyen. Napközben egy számítógépen dolgozik, esténként egy másik számítógépen játszik – és unalmában letölt egy új programot: egy intelligens operációs rendszert. És minden megváltozik. Az egzotikus hangú rendszer (Scarlett Johansson), vagyis Samantha felforgatja addig túl egyforma napait. Mindent tud, mindent ért, és egyre közelebb kerül Theodore-hoz. Olyan közel, hogy a férfi néha már úgy érzi: Samantha testestül-lelkestül az övé... (InterCom)
(több)Recenziók (14)
A virtual romance that to a certain extent adheres to the formula of its more traditional genre kin (boy meets girl, boy loses girl...), but because of the physical absence of a female partner and other vacant places in the space of the picture, it gives off a strange feeling of loneliness throughout its runtime. Joaquin Phoenix has to perform most of the boldly long shots on his own. In fact, he does the acting of two, as there is no visible reaction to his action. That which is essential happens either within the protagonist or off screen – in the soundtrack, which Theo also controls to a significant extent. For example, he chooses the (melancholic) soundtrack for his own life, by means of which the film not only thematises the manipulation of others’ lives (Sam becomes the new director of Theo’s existence), but also acknowledges his manipulative practices and thus deliberately diminishes their effectiveness. ___ The sluggish narrative pace and the emotional restraint at the level of formalistic techniques correspond to the strongly subjectivised (in terms of both image and sound) narrative. In various ways, the film itself is as shy as Theo, who also seems cut off from the outside world due his being situated in otherwise empty shots. Instead of the aforementioned absent partner, there is an interactive mise-en-scene that illustrates the protagonist’s mood and comments on the situations in which he finds himself. But the shyness shared by Theo and the film as a whole does not fit well with the film’s occasional lapses into vulgarity (erotic chatting, Samantha’s anal humour). However, we can perceive the overstepping of the boundaries of tastefulness as a means of pointing out the acceptance with which we allow virtual worlds to penetrate our intimate space (with similar acceptance, Theo tells the computer about his relationship with his mother). ___ With slight generalisation, it could be said that the desire to change something while not giving up one’s comfort is a paradox inherent not only in Theodore, who is afraid to step into the unknown and permanently cut off (real) contact with his former girlfriend, but also in the whole world today. Everything is outwardly perfect and cosy (which is aided in the film by the soothing pastel colours). We live in a state of comfort that was definitely never the standard before, but at the same time, we are often lonely, isolated and rarely truly happy, because we are always in search of the most convenient solutions (because the software that we buy will logically oblige us in everything). Surface perfection conceals inner emptiness. Substitutes for real people, real feelings and real actions simplify life to such an extent that we lose contact with it. Others express emotions for us by means of letters composed without the necessity of touching the keyboard (let alone using a “manual” writing implement). ___ However, Jonze is not a sceptic who would resolutely reject modern technology. He doesn’t completely condemn the possibility of a contactless relationship – for example, Theo’s dialogue with Amy seems just as unforced as his conversations with Sam – but only points out the drawbacks of choosing to live without touch. Whether that involves the visual absence of a partner in our memories or the loss of the “aura” of a beloved and still certainly original object. Fortunately, there are no appropriate alternatives to certain pleasant realities, even in a world of perfect replacements and substitutes. For now… 80%
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Hi, I’m Spike and I generate films just for you! - Oh! That’s great, let’s see what you can do. - Well, first, what genre would you like? - Hey, I quite fancy some sci-fi. But a smart one, no madness with robots or anything like that. A pinch of social satire and… - OK, I’m writing it down. What about romance? Humour? Would that be fine? - Yeah, I guess, but only a little, so it would be a bit sad and melancholic, rather than cloying, get it? And the humour, just a bit to spice things up. - Sure, we’ll go easy on it. And what about the actor for the leading role? You have any special requirements? - How about someone renowned but not a big celebrity? Maybe Philip Seymour Hoffman? - Sorry, mate, he’s dead. And Joaquin Phoenix? - Yeah, no worries. - And in what era would you like it to take place? A slightly altered present or a far, post-apocalyptic… - If possible, maybe somewhere in the near future. So it would be very similar to now, but also with some different and original details. I’d love that. So I could imagine that things will be like that in a few years, but I wouldn’t be too happy about it. - So the tone would be rather depressing? - Well…. not that, no. I don’t want any cheap happy ending, but it doesn’t need to be a heavy downer, either. Something half-way. Don’t make it too happy, but leave the characters with some hope. - Well, I think I already have it. It will be called Her. Have fun.
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A heavy-toned hipster film that, with all the weird appearances and costumes, drove me to the point where instead of enjoying the emotional highlights, I wondered if the warning against loving your iPods too much was really the film's main idea.
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It was with this movie that I started catching up with last year’s movies before Oscar night. Her attracted me with the premise and mainly with the actor. Joaquin Phoenix is an incredible actor. But what can you do when he often chooses pretty strange characters that are hard to figure out? And he delivers a pretty precise performance every single time. To such extent that you actually don’t know what to think about him as a person because with every film you get a different opinion of him. Once he drives you mad, another time you don’t understand why he acts the way he does and the next time you really understand him. But that’s actually not easy because I think that Joaquin tries to act in a way that will make nobody have understanding for him. All his characters are so specific that it’s really hard to find yourself in them in any way. Her represents a pretty strange view of the world that could come about if we are fully consumed by computer systems. Not in a bad way like in I, Robot. This is more a matter of psychology. Joaquin did a terrific job, but Spike Jonze made the movie the same way he makes all his movies – his way. I had a hard time looking for understanding in the movie but it hasn’t ceased to amaze me since I saw it.
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Black Mirror presents a chattily heartfelt, melancholic and, due to its topic, also pretty chilly feature length special When Teddy met Siri which fits nicely between episodes The Entire History of You and Be Right Back in terms of topic and approach. In any case it must be sci-fi, mainly because a guy that looks like Groucho Marx is courted by (true, in different forms) Scarlett Johansson, Amy Adams, Rooney Mara, Olivia Wilde and Kristen Wiig. And then also because of the worry design of men’s pants of the future; whoa… For my own sake I hope that this aspect of Spike’s vision doesn’t come true.
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As a short film this could have been a five-minute shootout or even a twenty-minute nostalgia, but Spike Jonze decided to give this idea a full-length form – and he did well. He holds the whole concept at such a high level that it is clear from the beginning that the finale cannot meet the audience's expectations. Because no matter how it ends, it will mean the end of that dream come true. And precisely at the edge of two hours, the elevating and universally personal premise spills over, not least in terms of how intensely it is intimate for us, romantic thinkers. However, I am still amazed at how perfect all the scenes are that depict a person in a state of hunger for love and hurling themselves down obviously blind alleys.
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Spike Jonze's film was preceded by a reputation as a cultured romantic spectacle with refined acting performances, artistic visuals, and a sophisticated aesthetic. In short, it was one of the hot candidates for the Oscars. The praise was not lying. If the film were a date, then She has a fine appearance, a meeting with her will definitely not offend anyone, and it is a date on a level where you don't feel like wasting your time with someone mediocre. But unfortunately, a connection with her didn't develop for me. I have no problem with the casting, as Joaquin Phoenix is an excellent actor and delivers exactly what is expected of him. He gives his character a sadly melancholic and even tragic dimension, and his loneliness gradually starts to hurt you physically. I also have no problem with the filmmaking in any way. What I do have a problem with, however, is the genre direction, as well as the way the characters are portrayed and the lack of identification with them. I also have difficulty with how the screenwriter works with the material. This theme directly invites a comedic approach, and in the first few minutes, it seemed to be heading that way and I was enjoying it. But as soon as it turned into a study of human loneliness and emotional dissatisfaction, I started to distance myself from the film. This is especially true when the director presents his protagonist as a victim and someone I should sympathize with. So, who is the victim then? Technology? It is just a tool that can be used well or poorly. If you look into a contemporary restaurant, you will see several couples who show much more interest in their mobile phones than in each other. But those phones are not to blame for their inability to communicate. Computers can save time and perform a huge amount of work, or you can mindlessly waste a lot of time with them. Online discussions can serve as excellent platforms for exchanging opinions and information, but also for empty talk and trolling. If Theodore is someone's victim, then he is a victim of his own nature and actions. I see a man prone to depression who refuses to admit his illness and wallows in his own self. I see a blind man who overlooks the values that are right in front of him. I see a fool who prefers a substitute where he can - and he really can - have a full-fledged relationship. There are very few film characters that I dislike as much as Theodore, and during the final scene on the rooftop of a high-rise building, when the protagonists are about to escape from themselves, I had the strong urge to kick those two cowards down myself. As for love for a computer program, in our world, there are countless substitutes and replacements for a romantic relationship. You can travel, immerse yourself in your work like a workaholic, or dedicate your feelings to fish in an aquarium. A computer program, if cleverly set up, could become a highly seductive and efficient substitute for love, but it will always be a one-sided affair. I grew up on the works of Stanislaw Lem, and they are marked by a deep skepticism toward the possibility of understanding between different civilizations, cultural circles, or even animal species. It is absurd to assume that if I cannot understand, accept, and love other members of the same species, I will gain and maintain a love for artificial intelligence based on completely different values and perceptions. Such a program would cease to fulfill its function precisely at the moment when the term artificial intelligence is fulfilled and it surpasses the barrier imposed by the program. By the way, this development would be much faster than Spike assumes. Overall impression: 45%.
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I like my Windows, but Samantha wins hands down. Quite an original idea loses points for its protractedness (they could have cut something), but otherwise it pleases with its romantic and scientific spirit. Phoenix’s acting is just great, Scarlett Johansson has an captivating voice (you start to notice that once you stop gawping at her perfect body). I liked the layered message (on two levels) which forces the viewer even after the movie is over to think (about your OS).
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I really didn't expect what a treat was awaiting me. The original concept of a man falling in love with an operating system, brilliantly transformed by Spike Jonze into a light and entertaining romantic drama that can tug at your heartstrings. I must admit that I haven't been a fan of Joaquin Phoenix until now, actually not having seen many of his movies, but his role in Her completely won me over and honestly I can't say who would fit this role better. I have never doubted his Oscar-worthy performances, but now I can vividly imagine him with a well-deserved statuette in hand. However, what would it be without the fantastic voice performance of Scarlett Johansson. The renowned chemistry between Theodore and Samantha works much better than I usually write, and the way this whole idyllic facade is processed quickly captivated and sometimes even enchanted me. Perhaps I'm talking nonsense, but it's that warm feeling reaching almost to euphoria, where you just watch and savor what's happening in the movie and forget to even breathe. Of course, if you're even a bit of a romantic type. A very pleasant surprise for me... And when the Czech distributor finally decides to release it in theaters, I'll definitely go see it. EDIT: Even on the second watch in the cinema, it was a great experience. Spike did a great job and I'm glad he at least won an Oscar for the screenplay... 95%... [3/18/2014_Csfd screening_Cinestar Černý most]
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Melancholy laden with mesmerizing visuals for those who occasionally crave sentimental dramas and independent small stories, and are not afraid to venture into a future where a seductive voice will take the lead. There are plenty of life planes, parallels, and references sketched out, but none will try to impose themselves on you, which is a very positive thing. Excellently acted, technically flawless, a very sad and occasionally depressing film that describes the problems of our time with great skill. Too bad about the occasional dull passages and the overly dragging pace. It wasn't as personal as I expected.
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As a romantic film for romantics who are bored of cinematic romance and who turn off the TV before a couple in love have their last passionate kiss in the rain, Her is an absolutely brilliant choice. The original story set in the future works with so many unfamiliar and novel elements that it actually puts pressure on itself in order to successfully withstand all that new and strange stuff without ironically falling into the mundane. And despite the slightly cringe and sleepy last act, I can solemnly declare that the peculiar creator Spike Jonze has once again mastered his difficult task. This is by no means a deep odyssey across the sexual cells of humanity, and the romantic atmosphere simply couldn't work that well with the unmistakable female element replaced by a computer (as sexy as the voice sounded), but to be fair, the direction is flawless, originality clearly triumphs, and the script is built cleverly enough to keep our attention until the somewhat lacklustre finale. And God forbid that this vision should ever come true. :) 80%
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"Play melancholic song." A design showcase for the 21st century bourgeoisie that really doesn't go one step beyond a mere experiment with the romance movie genre with its theme of transhumanity, which is built on nothing more than the fact that she is an artificial intelligence. The visuals, reminiscent of an attempt to place images from an Ikea catalogue into a narrative context, raise wild theories about whether we are actually in some kind of horrifying Heinlein-esque dystopia where all the characters are actually silent accomplices leading their empty lives in gentrified cities where all the people are young, beautiful, rich, and have creative jobs. That and Joaquin Phoenix in the lead with the creepy gamepiece in his forehead (https://www.youtube.com/watch?v=hOimTfNR110) pull the whole otherwise pretty awful spectacle of designer consumerism up to a certain level. "Play melancholic film. Play different melancholic film."
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Film, which very well captures the current multimedia and overtechnologized world, so it is a highly topical work. I acknowledge that the original screenplay is excellent, Phoenix plays convincingly and Scarlett also handles her voice well. However, I am not overly enthusiastic about the movie, I think it deserves to be significantly shortened, some passages seemed boring to me. I evaluate the originality and effort in today's era of remakes, plagiarisms, and sequels to come up with something of its own, new.
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The film Her surprised me. I didn't expect it to be that good, although I always look forward to Joaquin Phoenix's performances. This is again a demonstration of his capability, as he manages to carry a two-hour film without boring the audience. Don't you feel like you're watching Joaquin, but you're actually following Theodore Twombly in his strange life with his odd partner? The strongest aspect of the whole film is the fact that this isn't from the distant future; this is something happening in the present. There are simply people for whom it's easier to form a relationship with artificial intelligence than with another person. And this is true even though that person may be right in front of them. An amazing subject that was brilliantly handled. If it weren't for The Wolf of Wall Street, this would be a clear contender for the main prize in the Oscar competition for me. I hope at least the script gets an Oscar.
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