Director Spike Jonze has never shied away from existential topics in his films. "Being John Malkovich" explored the idea of identity while "Where the Wild Things Are" approached the coming of age concept with novelty and his trademark wit. With his latest effort "Her," Jonze moves into a futuristic society that has artificially intelligent operating systems and explores the idea of what a relationship and love really is. Can it only exist between real humans or is love perhaps something more transcendent?
At the center of the story is Theodore (Joaquin Phoenix), a lonely man who is in the midst of getting a divorce. He works in an office "writing" letters for other people (he actually dictates them to a computer) and spends his days playing video games and thinking about his wife. One day he happens upon a newly developed operating system that is made up of artificial intelligent. He purchases it and promptly meets Samantha (the voice of Scarlett Johansson). Theodore and his OS buddy hit it off really well and he starts to take her everywhere utilizing an ear chip and modern replacement for a smartphone. He starts to open up and reveal his feelings and in return, she manages to bring out the best in him. Slowly the relationship builds until the two fall in love; the clincher of the relationship is a terrifically executed "sex" scene between the two characters. While lying in his bed, Theodore tells Samantha that he envisions himself touching her and feeling her; the narration manages to have an orgasmic effect on both of them, leading to a climactic moment for both. During the moment of climax, Jonze cuts to black with only the ecstasy of the sounds enabling the viewer to understand the moment. Samantha remains a mysterious form throughout the movie and her voice is our only link to her; in this manner, Jonze enables the viewer to project his own image onto Samantha in order to have a greater level of participation in the proceedings. Since the sex is imagined for the two characters, Jonze allows the viewer to imagine what Theodore and Samantha are both thinking about during this moment, thus creating another strong integration of the audience into the drama.
The film works as an intricate character study and an analysis of love. Theodore has problems connecting with real human emotions and the "baggage" that comes with them. During one scene, he dates a mysterious woman played by Olivia Wilde. The two seem to hit it off rather well during the date and are embracing vigorously outdoors shortly after. However, Wilde's character stops the two from moving further into sexual engagement and asks him if they can have a serious relationship. Theodore starts making excuses and the mystery lady calls him a "creep." He has already been met Samantha (she encourages him to date the girl) and this particular date serves to emphasize how people in modern society seem to gravitate toward the protection of the digital interface as a means of avoiding the hurt and pain that comes with human interaction. As the relationship between Theodore and Samantha builds, Jonze almost seems to ask the audience if this kind of relationship, without first-hand human interaction, can actual endure. How much can a person truly know about the one they love when they cannot see or feel them? At the same time who is to say that this kind of relationship, in which trust is so strong, cannot be real? The issue becomes more complicated when Theodore starts to learn that an operating system is a product and that fact in itself has implications that damage his desire to have a unique experience that only humans, not a digital being, can provide.
Phoenix, often known for his explosive personality onscreen, dials it down significantly and delivers a nuanced and reserved turn as Theodore. This is a man that stares the audience in the eye during the first shot; the longing in his gaze emphasizes how very lonely he is. As he dictates that opening letter, there is a tremendous amount of tenderness; the viewer almost imagines that he is writing a letter for his beloved and the realization that he is writing it for someone else is quite shocking and even more dramatic. His melancholy behavior dominates the first half of the film, but the meeting with Samantha seems to bring out a richness and energy that has been missing. During one sequence, Samantha tells him to close his eyes and promises to guide him to a specific location. Phoenix is the essence of happiness as he smiles and twirls about. As the story develops, his severe gazes suggest the internal conflict arising within; the character somehow manages to keep it all together even as he starts realizing the breakdown of his ideal world.
Johansson gives a strong reading of Samantha, suggesting an innocent quality that highlights the purity and idealism of the artificial creation. Amy Adams is solid in her supporting role as Amy, Theodore's neighbor who is also going through a divorce and resorts to a friendship with a female operating system. The remaining cast members, including Wilde, Rooney Mara and Chris Pratt give potent turns.
The film does lose its footing toward the end of the second act and meanders a bit aimlessly; the 119-running time does seem a bit excessive at times and slows the film to a crawl in its final portions.
Buoyed by a star turn from Phoenix, Jonze succeeds in creating a strong existential analysis on loneliness and its discontents. The film may play too slowly for some and the glacial tone of its latter sections may put off some audience members, but the ideas and thoughts Jonze puts into play certainly make for inspiring conversation.
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