★★★★ / ★★★★
Deciding to dive into a film with a premise that is potentially rife with unintentionally funny and embarrassingly awkward situations, given that the main character gets into a romantic relationship with his operating system, “Her” ends up being quite a delightful surprise. It is sweet, amusing and accessible, but it also has insights when it comes to the complexities of human connection—what seems so real and substantial one minute can feel so fleeting and imaginary in the blink of an eye.
Joaquin Phoenix plays Theodore, a lonely man who remains to live in the shadows of his impending divorce. He has the papers but he refuses to sign and send them. To him, it is neither the right time nor does it feel right. When he purchases an operating system, who names itself “Samantha” (voiced by Scarlett Johansson), he is slowly pulled away from the shadows and learns to open up to someone new. That someone new just happens to be a machine. Is there something wrong with that?
Writer-director Spike Jonze creates a futuristic world that is a patchwork of past and future. The orange glow, a technique usually used to denote a past, gives the picture a dream-like, sunbaked atmosphere. On the other hand, the lifestyle of advanced technology and infrastructures of futuristic Los Angeles communicate otherwise. In that way, it is a science fiction film in concept but its essence is grounded in a sort of parallel reality. The images are easy on the eyes.
It is up to us to do the judging. Either one buys the romance or is repelled by it completely. After all, the central relationship is between man and machine. Samantha may sound just like a human being. She may claim to feel a spectrum of emotions like joy, love, jealousy, and hurt. She says she has needs and has dreams. But the fact is she is not a person and will never be a person. Is it all an illusion?
Jonze is a smart director—one who has consistently turned an original vision into reality—and so he anticipates and avoids the trappings of the romance genre. Casting Phoenix is an advantage because he can be unpredictable. Part of the excitement is wondering what he will do next—how his character will react to more familiar situations like a blind date or consoling a friend who is at the end of her wits (Amy Adams). From the moment Theodore activates the OS to the final shot of the L.A. skyline, Phoenix embodies a character that we want to see achieve some sort of happiness. Theodore may be a sad sack at times but, through his conversations with Samantha, we learn that he is aware of his limitations and that he can be impossible. Aren’t we all?
“Her” makes an interesting double feature with Steven Spielberg’s undervalued “A.I.: Artificial Intelligence,” about a robot in a body of a child who goes on a journey to meet The Blue Fairy so he can make a wish and be turned into a real, live boy—parallel to Samantha’s obsession with having a body. Though the scope and mood between the two are worlds apart, both pose similar questions about mankind’s relationship with machines and machines having human-like consciousness.