On the Spaces of Her

What will life be like if we continue our descent into technology dependent hobbies and lifestyle choices? Her is so completely about the growing relationship between man and machine that discussing it becomes almost redundant.

Jonze has imagined a future that realistically feels only a few years away. The online relationships that are springing up, mostly in metropolises, are growing (here Jonze creates a larger, but equally transient version of Los Angeles). People engage in revealing and emotionally exposing conversations with real people over a virtual platform. Her simply posits what would happen if the real on the other end were (artificially) intelligent, but entirely artificial. It does this so well, whilst asking so many of the relevant questions about our relationships with technology it feels like a complete film. In turn this is a film with a very specific audience; one that has grown up in a landscape world and not the portrait one of print newspaper and magazines. 

Without the narrative ever drawing attention to them, there is something magical about the spaces. Jonze clearly has an interest in architecture, as his imagined LA is a thing of beauty, romanticized through a sweeping camera catching the dawn and dusk light. This is juxtaposed with the threatening glowing Terminator-esque red light that indicates Theodore's artificial girlfriend is calling. Jonze’s message is delicate, but clearly there.

Jonze's city, while being man made is also warmly populated with people of all cultures. The transience of LA being just one example of the incredible attention to detail that makes Her’s future immediately believable. Although the people of the city walk around attached to their phones, Jonze highlights the positivity of human contact. Theodore and his 'girlfriend' imagine the past and future of a family they see in a shopping mall, without realising their own past and future are in turn imagined and destined to fail. Later, when Theodore needs them after tripping, the seemingly isolated population rushes to help him. Outside of the metropolis Jonze takes Theodore to a snowy forest and sun-drenched beach. With the absence of people Jonze highlights the beauty of nature, a feature of our world that existed before us and well before the operating systems (OS) of Her's future. 

Yet Jonze is not making a sweeping statement about the dangers of technology. Much of the technology in this future is ergonomic. Jonze's comment is far more specific. Despite the difficulties of real relationships we should endure as the alternative, regardless of how exciting they may seem are damaging. This message carries even more impact due to Jonze’s handling of the romance. Theodore and Samantha, his OS are in a relationship; he openly and without embarrassment tells people about Samantha, they go on dates (‘she’ sits in his top pocket, held up by a safety pin so she can ‘see’ through the camera in the phone), they have sex, they share everything, their break up is heart breaking. This is a relationship and Jonze sells it as one and if you buy it, the pay off is impressive.

By the end, Jonze offers Theodore hope in the form of a real woman. And where do they share a moment that will, we hope, bring them together? On the roof of their shared apartment building, overlooking the glimmering, beautiful lights of LA at night. 

On The Monuments Men

As a feature director George Clooney has sought to bring forgotten or past film genres back to life. Despite the contemporary use of camera, his films feel rooted to another time. This is very different to his choices as an actor, but then writing and direction is a more personal craft.

Clooney’s first feature as director, Confessions of a Dangerous Mind (2002) recalls the spy thriller, a rarely seen genre (Bourne and Bond are all action), while The Ides of March (2011) harks back to the politically driven cinema of 1970s America. Goodnight, and Goodluck (2005) (his most accomplished film as director to date) and Leatherheads (2008) are both films set in the past. The former, a beautifully shot, politically driven film about the dying professionalism of journalism and the latter a sports comedy full of quick banter and slapstick, reminiscent of the 30s and 40s films that employed such a style: His Girl Friday (1940), Mr. Deeds Goes to Town (1936).

It is therefore no surprise that The Monuments Men (based on a true WWII story) looks back to an earlier style of film. The ensemble, specific skill set cast recalls the Ocean’s Trilogy, but even those films, with the quick banter could be argued have the same commonalities. The films we are looking at here are include those such as The Dirty Dozen (1967) and The Bridge Over the River Kwai (1957); enjoyable, band of brother type films with a conscience. There is undeniable pleasure in watching The Monuments Men. The cast, most of who have worked together before is enjoying themselves, and this radiates off the screen. Yet, the film doesn't reach the emotional depths it should, mostly because structurally it bounces around too much. Although when it does (Bill Murray’s carol singing grandchildren, John Goodman desperately trying to save his shot friend) Clooney displays a power and sensitivity as a director that will remain long after the film ends.

As an actor, Clooney ranges across the genres. As a director, he does the same but always with an eye to the past and while The Monuments Men may not be his most memorable film, it slots nicely into the body of work he is putting together.