One of the most debatable elements about Spike Jonze's poetic, melancholy ode to the nature of love and human relationships is whether or not Samantha, the operating system (OS) which becomes the object of the protagonist's affection is truly real or illusory. Indeed, using the word 'which' seems to imply my stance that she is not. After all, if I thought so I would have said 'who.' Nevertheless, this simply goes to show how the ideas the film presents can become so deeply entrenched within our own conscious, causing us to wonder not necessarily at the plausibility of this scenario but rather the consequences it would have on the human race collectively.
Jonze has always been seen as a hippsterish outsider of sorts. Part indie, part surrealist poet, his three features prior show a firm handle on the technological aspects as well as a creative mind pulsating with potentialities. Writing solely for the first time, he creates a mesmerizing tale of people in the future where it's not the clothes or hairstyles or city architecture that should worry us; it's the lack of true, meaningful interpersonal connections. Indeed, it is not just Theodore who falls for his computer's OS. Is this a satirical point or a reluctant admittance? Either way, everyone knows society is headed in this direction. The only question which remains is what would it be like to have this kind of connection with an entity largely understood as impersonal?
It may be an impossible question to fully answer, but based on Joaquin Phoenix's performance, we can at least attempt an educated guess. Never one to shy away from fully involving himself in a character, here he plays a kind one would think he never could: warm, romantic, almost feminine. His thick-wired glasses and curvaceous mustache cannot hide the deep-seated emotions he exhibits throughout. Pain, bewilderment, ecstasy are all prevalent in his face, which is the main subject of the camera, and proves once again Ingmar Bergman's famous statement that the human face is the most important subject of cinema. Just as effective is Amy Adams with a hairstyle like Cameron Diaz's in Being John Malkovich. Yet, most surprising is the voice work of Scarlett Johansson. It may have been a Catch-22 to use a voice most people recognize which is automatically attached to such a physically attractive figure, but, thanks in large part to Phoenix's reactions, it works. Her voice, here a grand mixture of breathy Marilyn Monroe and husky Candace Bergen, captures the true soul of this film. Johansson's Samantha is energetic, childish, exceedingly bright and always ready for fun. Most audiences may simply insert her face mentally whenever she speaks but she brings to the story a level of gravitas and sadness perhaps no other actress could have.
So, is Samantha real or illusory? Perhaps the real issue is whether or not her feelings towards Theodore are honest. As it turns out, the most important aspect of love may be the nature of exclusivity. Being alone with someone else, physically or aurally, has to be one of the most universal feelings humans share. Perhaps, as Jonze shows us, technology will someday reach that level, and even surpass it, as well.
Jonze has always been seen as a hippsterish outsider of sorts. Part indie, part surrealist poet, his three features prior show a firm handle on the technological aspects as well as a creative mind pulsating with potentialities. Writing solely for the first time, he creates a mesmerizing tale of people in the future where it's not the clothes or hairstyles or city architecture that should worry us; it's the lack of true, meaningful interpersonal connections. Indeed, it is not just Theodore who falls for his computer's OS. Is this a satirical point or a reluctant admittance? Either way, everyone knows society is headed in this direction. The only question which remains is what would it be like to have this kind of connection with an entity largely understood as impersonal?
It may be an impossible question to fully answer, but based on Joaquin Phoenix's performance, we can at least attempt an educated guess. Never one to shy away from fully involving himself in a character, here he plays a kind one would think he never could: warm, romantic, almost feminine. His thick-wired glasses and curvaceous mustache cannot hide the deep-seated emotions he exhibits throughout. Pain, bewilderment, ecstasy are all prevalent in his face, which is the main subject of the camera, and proves once again Ingmar Bergman's famous statement that the human face is the most important subject of cinema. Just as effective is Amy Adams with a hairstyle like Cameron Diaz's in Being John Malkovich. Yet, most surprising is the voice work of Scarlett Johansson. It may have been a Catch-22 to use a voice most people recognize which is automatically attached to such a physically attractive figure, but, thanks in large part to Phoenix's reactions, it works. Her voice, here a grand mixture of breathy Marilyn Monroe and husky Candace Bergen, captures the true soul of this film. Johansson's Samantha is energetic, childish, exceedingly bright and always ready for fun. Most audiences may simply insert her face mentally whenever she speaks but she brings to the story a level of gravitas and sadness perhaps no other actress could have.
So, is Samantha real or illusory? Perhaps the real issue is whether or not her feelings towards Theodore are honest. As it turns out, the most important aspect of love may be the nature of exclusivity. Being alone with someone else, physically or aurally, has to be one of the most universal feelings humans share. Perhaps, as Jonze shows us, technology will someday reach that level, and even surpass it, as well.