By being a conqueror disguised as a clown, Jojo Rabbit becomes a film of our times. Those who choose to be offended by its ‘trivialization’ of Nazi Germany are, in effect, admitting that they are uncomfortable to look in the mirror every morning.
Kartik Aaryan’s impotent rage in the face of Bhumi Pednekar and Aparkshakti Khurana’ s screen presence finds companionship in Ananya Pandey’s robotic non-presence. What could have been funny falls flat.
It’s a great line, one that’s at the heart of everything Pa Ranjith stands for. But it doesn’t sound like a “lecture”. It transcends mere “advice” and becomes something purer, a kind of existential philosophy.
This could be a fascinating case study of how “arrogance” on screen (like in ‘Arjun Reddy’) makes it less easy for us to fully embrace a character, while innocence and humility make us sympathise more readily.