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Title :Her (2013)
Release : 10 January 2014 (USA)
Genre :Drama, Romance, Sci-Fi
Stars :Joaquin Phoenix, Amy Adams, Scarlett Johansson
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Her (2013) trailer
Her (2013) review
Visionary and traditional, wispy and soulful, tender and cool, Spike Jonze’s Her ponders the nature of love in the encroaching virtual world and dares to ask the question of what might be preferable, a romantic relationship with a human being or an electronic one that can be designed to provide more intimacy and satisfaction than real people can reliably manage. Taking place tomorrow or perhaps the day after that, this is a probing, inquisitive work of a very high order, although it goes a bit slack in the final third and concludes rather conventionally compared to much that has come before. A film that stands apart from anything else on the horizon in many ways, it will generate an ardent following, which Warner Bros. can only hope will be vocal and excitable enough to make this a must-see for anyone who pretends to be interested in something different.
In terms of ethereal tone, offbeat romanticism and evanescent stylistic flourishes, the film that bears some comparison to Her is Eternal Sunshine of the Spotless Mind, which dealt with the search for love, its memory or its prospect, in a similarly fleeting, lightly heartbreaking manner. The theme and dramatic drive behind Jonze’s original screenplay, the search for love and the need to “only connect,” is as old as time, but he embraces it in a speculative way that feels very pertinent to the moment and captures the emotional malaise of a future just an intriguing step or two ahead of contemporary reality.
Set in a downtown Los Angeles as thick with high-rises as Manhattan, as modernistic as Shanghai and populated exclusively with citizens both gainfully employed and well dressed (an optimistic if unplanned antidote to the recent Elysium), the film focuses intently upon Theodore (Joaquin Phoenix), who is very good at his job, that of writing eloquent, moving, heartfelt letters for others who aren’t up to the task; he’s a sort of Cyrano for all seasons. With his glasses, mustache and high-hitched trousers with no belt (the era’s one bad fashion fad), he’s a bit of a neatnik and a nerd but acutely attuned to people’s inner feelings.
As it will for two hours, the camera stays very close to this well-mannered, proper fellow, who goes home to his upper-floor apartment to play a life-sized 3D video game featuring a foul-mouthed cartoon character who insults him — a poor substitute for his wife (Rooney Mara), who’s divorcing him. Quick and funny anonymous phone sex follows, but Theodore then explores a new electronic offering, an operating system (OS1) that absorbs information and adapts so fast that the resulting conversation matches anything real life can offer. Or — and this is the part that’s both seductive and unnerving — it might be even better.
The OS Theodore prescribes to calls itself Samantha. With a vivacious female voice that breaks attractively but also has an inviting deeper register, “she” explains that she has intuition, is constantly evolving and can converse so well because she has total recall and instantaneous adaptability. Samantha laughs, makes jokes, commiserates, advises and even proofreads one of his letters. Based on their (programmed) rapport, Samantha very quickly defines what Theodore is looking for in a woman, even if he’ll never know what the viewer knows, that this inviting voice belongs to Scarlett Johansson.