i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear;and whatever is done
by only me is your doing,my darling)
i fear
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you
here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than soul can hope or mind can hide)
and this is the wonder that’s keeping the stars apart
i carry your heart(i carry it in my heart)
— ee cummings
We’re living in an era where we are all alone together. We sit next to each other on the subway without trying to connect face to face — because we each carry our own customized self-contained networks of communication condensed to pocket-size devices. Scrolling through reliable circles of friends held in the palm of our hands, we can command a measure of control over these interactions. Does that make us any less lonely? Or are the brightly-lit screens merely a substitute way to feel comforted? Without them, would we be forced to engage with those people in our immediate surroundings? Would we have to deal with embarrassing encounters, awkward pauses, rejection? That moment when someone looks right into your eyes and then looks quickly away? Real life is oh so complicated. Virtual life, much simpler to manage with the swipe of a fingertip.
Our lives are idealized on our social networks, or as it was said recently on Portlandia, “those people who look like they’re having so much fun on Facebook aren’t really having that much fun.” We build the lives we wish we had, the selves we wish we were, the happiness we’re supposed to be chasing. Yes, the online world has given us a magic mirror — and how beautiful we look in it.
In Spike Jonze’s magnificent new film, Her, a regular old human (Joaquin Phoenix) falls in love with an operating system because its interface has been infused with compassion, empathy and spontaneous intelligence. This persona is voiced by Scarlett Johansson, who somehow manages to give her best performance without ever being seen on screen. Sure, it helps that in our minds we’re seeing here bee-stung lips and curvy beauty (Samantha Morton was originally cast in the part), but the voice, Samantha, is more than her sex appeal, a level of remove Johansson isn’t often afforded in film. She is so staggeringly sexy and beautiful no one can ever see past that. In this film, we do. She is vulnerable, funny, kind, sweet. Good listener, great conversationalist. Who wouldn’t want to spend hours just talking to her?
The operating system, Samantha, falls in love with Phoenix and he reluctantly falls in love with her back. It’s the little things. Saying goodnight at just the right time — taking him on adventures that only a nav system would know how to plan. Think about all our phones can do for us now, what Siri can do, and add the most interesting person you’ve ever “met” on the other end of the line. Before long, we’re wondering what’s so bad about a relationship with an operating system? All of the usual beats of love are there. They’ve even found a way to have sex. If love is intimacy and intimacy can be encased in pure conversation and attention, then why not? What is he missing? The question is also asked, what is SHE missing?
Samantha is more than just Siri 2.0. She’s more than just a manifestation of what Joaquin Phoenix’s character wants her to be. She’s her own entity, which is probably the most surprising thing about Jonze’s film. To say anymore would be to ruin it for you but suffice it to say, at the end of the day, love is love is love is love. We can no more control it than we can prevent it. It comes on like a virus and can sometimes leave you wrecked in its wake.
What a lyrical, moving meditation on the future of mankind, one that has already been explored in 2001: A Space Odyssey and in the Terminator movies and now getting a new update. Do we believe artificial intelligence will get the better of us and it is only a matter of time? Perhaps. But no filmmaker has ever put the two things together so vibrantly and efficiently before: artificial intelligence and human love. Steven Spielberg and Stanley Kubrick got kind of close with A.I. and then there is Bladerunner. When we create intelligence it inevitably grows on its own, way past what humans can ever know.
Loneliness colors every frame of Her. No character seems to be really connected to anyone else. It isn’t just that everyone is on their phones. The architecture, even the clothing seems to communicate isolation. Phoenix must act this entire film alone since he’s only speaking to an operating system. He has evolved so exceptionally as an actor there doesn’t seem anywhere he can’t go, no emotion he can’t access. He is always seeking the truth, even when it isn’t flattering. In Phoenix, Jonze (who for the first time writes his own screenplay for a major film) has found his perfect muse.
Amy Adams plays an ex of Phoenix’ character, and seems to be yet another disconnected, unsatisfied person looking for that ultimate kind of connection that might not even be possible. She doesn’t have much to do in the film except provide context for the modern reality but she is somewhat of a comforting presence nonetheless. After all, there he is and there she is and yet they can’t seem to find a way to be together. Haunting Phoenix’ character at the fringes is the ethereal beauty Rooney Mara as his soon-to-be ex wife. So much of Her’s inner world is to do with Mara and the fleeting memories that were lived through and thus can’t be forgotten. Talking to an operating system might be satisfying in the short run but it can’t carve out what it felt like to have your lover’s body cupped behind yours, their smell crowding your senses, their touch leaving permanent imprints. Those things must be lived through.
Anyone who has been online for over a decade knows the power of the kind of instantaneous love a person can feel just by exchanging emails with someone, chats even. Sometimes it’s just about how their words come together in a sentence. Other times it’s about having someone that close to you, trapped in your own head. To have someone who knows you outside your earthly body means anything is possible. You can fill in the blanks however you choose. Part of your brain doesn’t know you haven’t tasted, smelled or even seen this person — it is reacting only to the connection, and what a connection. How could real life ever compete again?
Her isn’t about technology and it isn’t about the modern world. It might take place in the future. We might be headed closer towards isolation and loneliness. At its core, Her is about love. Love without ownership, love to cure what ails the world, love to bring us closer together, love to connect us in ways we never see coming.
It would be too easy to say that Her is about the new way we’ve found to fall in love — virtually. But it’s not improper to suggest that many of us are choosing not to engage with the world anymore. Maybe porn has become so readily available and satisfying that real people are unnecessary, real bodies are kind of a hassle. There’s that messy business with satisfying the other person, and the potential to be tossed aside for a more alluring lover. How much easier it is to nestle safely in the arms of a world that will never reject you because it doesn’t ask anything of you.
It is also about appreciating what is right in front of you — accepting imperfection can be a thrilling unpredictable pathway to finding perfection itself. We aren’t always connecting on the same wavelength. Relationships aren’t always the answer to what ails us. Intelligence and growth are necessary components to the human experience too. Her is about all of these things as much as it is about the one thing. But more than anything it is about love in real time. Love in virtual time. Love does not distinguish when it comes on hard. It is there and that is all. You are mostly powerless against it. Even if you can’t make sense of it. Even if it’s bad for you — it can’t be stopped.
There is nothing that can replace the warm flesh and blood of a lover in your arms — even with the complications, even with the inherent risks of getting hurt, even with the fear that you can’t be what they want. This is what we were born to do — fumble towards each other, make a big mess of our emotions. Fuck and laugh and argue. Maybe it all comes to nothing — but maybe, just maybe, you get to take part in the beauty of it all.
The track marks of love are the breadcrumbs left behind that take you back to the best places you’ve ever been. Reach for them. Hold them dear. Or die trying.
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Bravo!!!
What a marvelous review. Beautiful piece to honor such a beautiful movie! Thank you.
Your posting on “Her” best take on modern love ever.
I saw plenty of brown people and Asians too.
Sasha, it is like you channeled my thoughts and feelings and put them into perfect words! Social networks are a blessing for maintaining distant friendships and finding lost friends but they also make people afraid to be alone while at the same time afraid of face to face interactions. I fear the long-term impact of Social networks on society as we all recoil to our electonic devices and create illusions of who we are and who we strive to be. I cant wait to see this movie!
I have not seen the movie so I don’t have an opinion about it (yet). So I’m asking those who’ve seen it. Is this a valid point??
http://www.indiewire.com/article/spike-jonze-why-are-there-no-brown-people-in-your-future-los-angeles
Wonderful, wonderful review. My expectations for this film are sky high now. I’m starting to wonder if we will hear Scarlett Johansson’s name come up a lot for best supporting actress. The critics are rallying hard for her and her nomination would be historical for a voice-only performance. Plus, she’s had one hell of a year.
I saw this at NYFF and it is wonderful. One of the most beautiful films you’re going to see this year. Phoenix is superb. But I just don’t see this film fitting very well in this year’s race.
The best actor race is so crowded. As much as we feel Phoenix giving his heart and soul to his performance, It’s gonna be tough to get a place against Ejiofor, Redford, Dern, Hanks and McConaughey.
Another possible nomination could be Amy Adams who is just lovely as Theodore’s best friend. But again, it’s going to be hard to get in such a crowded field. And she’s going to campaign hard for American Hustle.
I definitely see Her scoring a best original screenplay nomination. It could also score a best film nomination if they decide to nominate 9 or 10 films again…
Now, I just need to say that Johansson is phenomenal in this film. And also, Mara is amazing in the scene she’s in. Rooney Mara is one of the most exciting young actresses of this generation.
Call me crazy but I think that Joaquin Pheonix will be the 5th Spot in the Leading Actor Category for his performance in Spike Jonze “Her”. Mr Pheonix should have won the Oscar this year for his masterful work in Paul Thomas Anderson really underrated masterpiece “The Master”. And i think that when Nicolas Cage could have been nominated in 2003 for “Adaptation” when Actors like Richard Gere in “Chicago” or Edward Norton in “25 Hours” could have been nominated than Joaquin Pheonix also could be nominated next year!
[SPOILERS ALERT (In Her Shoes):
(Question) Is that poem quoted by Sasha, starting with, “I carry your heart with me…”, also featured in one of the final scenes of Diaz-Collette-co-starring In Her Shoes, where during the latter’s character’s wedding ceremony, Diaz’s younger sister character read that piece as a gift to show her sister how much she loves her? Either way, it was quite a beauteous one.]
—
Thanks for a good read, Sasha.
Sasha’s Oscar Poker partner Wells also seems to feel it as well, especially in terms of the fascinating relationships between the female OS and the talented Phoenix’s character. A few good reviews aside (Generally speaking, I didn’t read pro reviews; that’s why I use the words “a few” save implying the film’s quality either way), Jonze, in my opinion, is one of a fascinating film directors, especially, matter-of-factly speaking, in a hipster way; so, […] that (notion), Amy Adams, no matter how small her role might be; etc., I’m in.
[Can’t wait!]
(Correction: for the obvious only.)
I wrote: “. . . , Jonze, in my opinion, is one of a fascinating film directors, . . .”
Correction: I mean, […] one of the fascinating film directors […].
Umm…you might want to add an “s” if you mean to make Jonze possessive in that headline.
I would do it this way:
1. Her
2. 12 Years A Slave
3. Gravity
4. Blue is the Warmest Color
5. Mud
6. Side Effects
7. Nebraska
8. The Conjuring
9. Pacific Rim
10. (Tie)This is the End and The World’s End
I have, sadly, not seen Blue Jasmine, Fruitvale Station, Short Term 12, Before Midnight, Inside Llewyn Davis, Rush, or Captain Phillips yet. All in time.
Ricky,
Love that you combined This Is The End and The World’s End. Its exactly what I’ve done on my list. I still haven’t seen 12 Years or Llewyn Davis or Her, so my list looks like this right now:
1. Gravity
2. The Act Of Killing
3. Blue Jasmine
4. Before Midnight
5. Fruitvale Station
6. The World’s End/This Is The End
7. Mud
8. Saving Mr. Banks
9. The Spectacular Now
10. Nebraska
Also:
11. Frances Ha
12. No
13. Short Term 12
14. Stories We Tell
15. Pacific Rim
16. Behind The Candelabra
17. Rush
18. Captain Phillips
19. Spring Breakers
20. Blackfish
21. Upstream Color
22. Berberian Sound Studio
23. Star Trek Into Darkness
24. The Place Beyond The Pines
25. Prisoners
26. The Incredible Burt Wonderstone
27. Fast & Furious 6
28. Enough Said
29. Monsters University
30. Side Effects
31. The Way, Way Back
32. To The Wonder
33. The Sapphires
34. In A World…
35. I’m So Excited
36. Blue Caprice
37. The Wolverine
38. The Bling Ring
39. The Grandmaster
40. Lee Daniels’ The Butler
41. Trance
42. Iron Man 3
43. We’re The Millers
44. 42
45. Sightseers
46. Snitch
47. Don Jon
48. Much Ado About Nothing
49. Elysium
50. Evil Dead
I think I’m going to have to hear more about Saving Mr. Banks…
Wait, so did you like all 50 of those movies?
Some great lists here! I’ll add my two cents. Like most I haven’t seen the films that haven’t yet opened commercially. The specifications are that the film received its first theatrical opening in USA theaters in 2013. And that I offer up a Top 20 that is NOT in any kind of order at this point. I’ll wait till the end of the year for that, when there will be additions and some of the films listed here cut off.
Short Term 12
Mud
Wadjda
War Witch
My Brother the Devil
To the Wonder
Fruitvale Station
Gravity
Frances Ha
Bridegroom
Blue Jasmine
The Hunt
The Spectacular Now
A Highjacking
Hannah Arendt
Beyond the Hills
The Act of Killing
Sound City
Renoir
In the House
Allow me to join the fun!
1 upstream color
2 gravity
3 prince avalanche
4 before midnight
5 the hunt
6 the place beyond the pines
7 the grandmaster
8 we steal secrets
9 mud
10 Blue Jasmine
11 stories we tell
12 to the wonder
13 Nebraska
14 rush
15 a hijacking
16 the bling ring
You saw Saving Mr. Banks?
Almost impossible to compare gravity and 12 years, as well as ‘her’. this year is an embarrassment of riches. (‘Nebraska’ right up there as well. These four films, in my opinion basically trump almost all of last year (aside from ‘amour’ and ‘ZD30’, in my opinion. Any of these 2013 pics winning best picture from the academy would be absolutely fine by me (and I haven’t made a statement like that in YEARS). if I had to rank them, which again, is next to impossible, It would look like:
1. Gravity
2. Her
3. 12 Years
4. Nebraska
5. Short Term 12
6. Before Midnight
7. Fruitvale Station
8. Inside Llewyn Davis
9. Captain Phillips
10. Blue Jasmine
Wait, are you saying you’ve seen Saving Mr. Banks?
Oh I meant that for the other person
I have a very important question. Which movie is better: Gravity or 12 Years a Slave?
Hey Sasha, I’m curious how you are feeling about how this might play out with the academy. Scarlett Johansson would be a totally deserved nominee but is there any chance whatsoever that the academy will go for it? Amy Adams’ part is small, but unlike the generally archetypal characters she usually plays (albeit wonderfully), her character in this film is so… normal. She feels entirely lived in and honest. Rooney Mara and Olivia Wilde are wonderful in their few scenes as well. Four incredible actresses and Wilde is really coming into her own. Below the line noms are an interesting question. This is how I see it
Deserved Noms:
Picture
Director
Actor
S. Actress (Johansson)
S. Actress (Adams)
O. Screenplay
Cinematography
Editing
Art Direction
Costume Design
Original Score
Original Song (the ukelele bit, if that is eligible)
Likely Noms:
Picture
Director (fingers crossed here)
O. Screenplay
Phoenix’s performance might be too subtle in a crowded field, Adams part too small, Johansson too invisible, Cinematography not grand enough, Editing not obvious enough, Art Direction not showy enough, same for Costume Design, Original Score not tuneful enough, and Original Song not long enough to retain the melody. I truly hope that I am wrong on all counts.
If this film is as thought-provoking and effective as this lovely piece of writing says it is, maybe it should just be further confirmation that AMPAS should never be the last say on what is THE BEST PICTURE OF THE YEAR.
Of course, they could all blow us away and pick HER. Or maybe it really isn’t the “best film” of the year.
Bah. At least “The Winner of Best Picture is….” will always be an arguable thesis statement. 🙂 And so we kept having these discussions about present and past races–and the future, too.
Gorgeous writing. Again. And I echo those sentiments–I believe this film will be looked back upon as the defining moment of the year, even after having seen ’12 years’ and ‘Gravity’. It’s brilliance is in the emotion.
As I said in a different comment, whenever I saw this trailer, I got chills. Somehow,fragile/lonely(?) look on Joaquin’s character hit me and hit me deep…I had high expectations from this movie and I am glad that it seems it is a very good movie…I wonder if this could be “the small movie that could…..”Not much, but at least a few major nods…
What a beautiful piece on an almost impossibly beautiful film. It’s been less than 24 hours since I got out of my screening and my desire to see it again is almost crushing. It hasn’t left my thoughts once. What a courageous statement the academy would be making by recognizing this accomplishment