Her, starring Joaquin Phoenix and written/directed by Spike Jonze, has created quite a stir, including among those who find it spoof-worthy, as in a recent short film by SNL starring Jonah Hill and Michael Cera.
The plot is summed up pithily by IMDB: “A lonely writer develops an unlikely relationship with his newly purchased operating system that’s designed to meet his every need.” The OS is Samantha, voiced by Scarlett Johansson.
Peg Streep, writing in a Psychology Today post, points out that the film takes place in a context in which the majority readily accept Theodore’s relationship status:
The ease with which everyone accepts the relationship as ‘real’ is reminiscent of how quickly the culture has accommodated itself to the ‘new normal’ of living in the digital age, where seeing a couple eating dinner together while texting other people no longer seems strange or ‘friending’ people you don’t know so you can get more attention or feel better about yourself is okay.
Significant Plot Points
Tom Shone, The Guardian, sets it up:
…(T)he film is half in love with the loneliness it diagnoses…and for the first hour the conceit is unveiled beautifully, via a brisk series of gags, most of them in the periphery of the main plot. Theo’s workplace is a website called BeautfulHandwrittenLetters.com, where he sits in office composing personal notes for those who can’t be bothered…while a neighbour, played by a curly haired Amy Adams, designs video games in which mums pick up ‘Mom points’ for feeding the kids or beating the other mothers to the carpool, or else face the ignominious charge ‘You’ve Failed Your Children!’
Alonso Duralde, The Wrap: “His own emotions…remain a mystery to Theodore; he’s been in a serious funk since breaking up with his wife Catherine (Rooney Mara), to the point where his old college pal Amy (Amy Adams) invites him for a night out with friends but specifies that she’s asking the ‘old, fun’ Theodore to come.”
Scott Foundas, Variety: “Lack of physical presence notwithstanding, Samantha at first seems close to the male fantasy of the perfect woman: motherly and nurturing, always capable of giving her undivided attention, and (best of all) requiring nothing in return.”
Below you can watch the trailer:
Dana Stevens, Slate: “It’s a wistful portrait of our current love affair with technology in all its promise and disappointment, a post-human Annie Hall.”
Anthony Lane, New Yorker: “What makes ‘Her’ so potent is that it does to us what Samantha does to Theodore. We are informed, cosseted, and entertained, and yet we are never more than a breath away from being creeped out. Just because someone browses your correspondence in a mood of flirtatious bonhomie doesn’t make her any less invasive; and just because you have invited her to do so doesn’t mean that you are in control.”
Christopher Orr, The Atlantic:
By turns sad, funny, optimistic, and flat-out weird, it is a work of sincere and forceful humanism…
Indeed, by the end of the film, the central question Jonze is asking seems no longer even to be whether machines might one day be capable of love. Rather, his film has moved beyond that question to ask one larger still: whether machines might one day be more capable of love—in an Eastern philosophy, higher consciousness, Alan Wattsian way—than the human beings who created them.