In 2009′s “Where the Wild Things Are,” Spike Jonze managed to make larger-than-life children’s book puppets come to life as a real family with all its ups and downs and genuine pathos, so it’s not surprising that he’s able to take a somewhat gimmicky premise of a human falling in love with his computer and make it just as riveting and real. “Her” may only show us one half of a burgeoning relationship while never letting us forget that the other half is a computer, but it still showcases one of the most compelling love stories of the year, aided by top-notch writing, music and cinematography, actors at the top of their game and a tone that seamlessly blends tragedy with levity.
Joaquin Phoenix goes unrecognizable once again as Theodore, an introverted letter-writer (that’s an actual job in this futuristic society) still reeling from a difficult breakup from his soon-to-be-ex-wife Catherine (Rooney Mara). Almost on a whim, he buys what’s advertised to be the first articifically intelligent operating system. After a series of comically invasive questions, his new OS pops up and introduces herself as Samantha through the voice of Scarlett Johansson. He is immediately charmed by her excitement as she discovers the world for the first time and continues to soak up everything new (which, to her, is everything) she encounters. Their personalities seem to mesh well – which is partly due to the personalized nature of the OS, but partly not – and soon their bond deepens into a genuine friendship as Samantha seems to actually care about Theodore, finding him funny and wanting to know about all aspects of his day and life.
With a romantic bond forming unexpectedly between a human and a piece of artificial intelligence as its main conceit, the film is freed to tackle the relationship in fairly traditional ways while still making it feel fresh and original. She may have no body, but Samantha, due in large part to Johansson’s expressive, emotive performance, feels very human. The feelings that spring up between Theodore and Samantha, too, from discovery to sexual desire to transitioning out of the honeymoon period to jealousy and distance, are all honestly portrayed. They fall in love just like two people would, to such an extent that while it still elicits a laugh when Theodore introduces Samantha as his girlfriend or tells someone his girlfriend is an OS, the characters in the onscreen universe barely bat an eyelash.
A melancholy tone persists throughout the film, as Theodore reminisces on his failed marriage, goes on a disaster date (with Olivia Wilde) which reinforces his insecurities and counsels his friend (Amy Adams) on her own relationship troubles, but there is also a surprising amount of humor. There’s the awkwardness of Theodore and Samantha’s initial deepening courtship, while Samantha delights in learning new things and is quite endearing and funny when doing so at times. And actual comedy bits fit in quite nicely as well: a familiar face (well, voice) interacts with Theodore to hysterical results early on, while a gut-busting, scene-stealing secondary character is one of the highlights of the film – and it’s not human either.
Phoenix continues to show off his incredibly chameleon-like ability to disappear wholly into a wide range of characters, Theodore being the latest, infusing him with awkwardness, loneliness and the capacity to heal and move forward. His natural chemistry with Johansson is particularly impressive when you consider they were probably never in the same room together and indeed, she recorded her dialogue long after he had wrapped up shooting opposite the voice of Samantha Morton. The three bodied women he encounters are also very good. Adams’ fictional, frizzied and frazzled Amy would clearly be a good match for Theodore herself, but instead she’s supportive of his new relationship. Wilde embodies that girl who’s too pretty and too outgoing to ever really go for someone like Theodore, while Mara, in her big scene, delivers a smackdown that rivals the work she did in the opening scene of “The Social Network.”
There are often sides to be taken on the issue of the growing presence of technology in our lives, and Jonze definitely takes one here, with even the futuristic setting and buildings (Shanghai, subbing for near-future LA) cast in loving, gentle and breathtakingly beautiful light. Machines are not enemies in the “Her” universe, but a new species discovering themselves and their purpose in this world, just as humans did once upon a time, and just as in need of nurture and understanding. At its heart, this is one of the most human coming of age stories ever told.
A
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