To paraphrase David Byrne, in Spike Jonze's not-to-distant time horizon, the future depicted in the movie Her is …A place where nothing ever happens.
For instance, creative achievement is evidenced as a documentary of a mother sleeping. No, not a work about sleep or moms or nocturnal maternal emissions. The camera is frozen on a static star of a sleep study.
Is this a tribute to slow TV or simply the vacuous expanse of uninspired alienation that awaits us past the end of history? Joaquin Phoenix's character is a greeting card dictator-turned-personal-history-arranger. By his own admission he's run the gamut of human experience in only slightly more than one-third of his biological life. It's all patterned out, as if the big data wheel of probability already lived it for him. Of course there's no great expanse of history or imagination to cross for the audience to conceive of no greater turn-on for our protagonist than a woman he can turn off at will (a.k.a. Scarlett Johansson ... as Samantha ... as Her).
But to arrive at that exalted and zipless state, we must first climb over the encumbrances of mid-21st century Los Angeles. It's not a high, low or middle society so much as a neutered and frictionless tunnel of over-educated, close, but not touching (and yet so touchy) automatons, leading lives that appear more simulated than stimulating.
Don’t Touch the Exhibits
There is nothing Dystopian in the infrastructure. There are no marauding packs of feral gypsy gang lords. No one is warming over a post carbon, methane crisp at the beaches of tomorrow. The biggest obstacle for Theodore is to avoid stepping on the ankles and torsos of the wedged-in open house of Next Gen sun worshippers. Wealth distribution's been all figured out. Traffic patterns have been scheduled in advance. The obese and diabetic have retired to off-screen leper colonies. Convincing meds have released a drug-free world from the labors of addiction. Hostility means you're carrying someone else's baggage. And they're just as happy if you don't.
Most of the movie's confrontations are big drawn-out clashes of the genders. Relationships are skirmishes waiting to happen. Ironically Theodore's metro sexual manliness is hailed by his office mate and inspires his first post-divorce dating encounter. No sooner can you say restaurant selection anxiety disorder, his magic conquest carpet is rolled in and scorched by his blindsided dinner date. Her advanced academic pedigree belies her naughty school charms. The unfreezing of his flowing juices pushes her abandonment buttons: Is he the whole prayer resolution package or drive-by sleaze bag from the same package store?
Tender Generic Mercies
My favorite set-up to the zipless intelligent soul design climax has little to do with dating freak-outs or similarly ill-formed flashbacks of a brawny-brained, emotionally-stunted ex-spouse. It's the facade of authenticity provided by Theodore's gift of verbal approximation of generic intimacy. Sort of a SIRI bookstore reading of a texting-happy Hallmark laureate. Add the idyllic trappings of an imagined togetherness never actually shared by the customers who dial-in Theodore's prose because their own reticence blocks the connective emotional tissue from forming around we still know too casually as a commitment to our significant someone.
The manufacture of superficial intimacy tees up with the artificial intelligence cocktail in ways that the servant-turned-antagonist (2001) and Pinocchio-kindled parental love (AI) could only break down as instruction sets. The messier business of decoding our emotional bearings from bedroom, to alter, to probate finds the AI cinema formula in rare and elastic form, stretching to accommodate our most far away looks. We're gaping into our own dreaminess with an impunity reserved in our time for control freaks of the rich and famous. It's the AI elements that enable this immersive bubble of mirth to mushroom without risk, or guilt, or the slightest creeping realization that the rest of our better selves are engulfed by that same indelible reflection. It's that temptation to be dreaming around the campfire of the oncoming headlights. Entrapment by entrancement. Anything less than Her is tabled as a to-do list item for some day, any day, eventually following tomorrow.
Her Fast Acting Majesty
The deliberate invocation of a nearby future was decided by Jonze first and foremost to get us vested in the outcome -- that we would see this day evolve, if not the actual artifice. I'm also guessing it was not so much to raise expectations on that future so much as lower our guard on the present close at hand. Our solipsistic romance with the immediacies captured in our smart phone of yesteryear is replaced by companionship, configured from best practices associated with...
- Childlike curiosity
- Canine loyalty
- Valentino romance
- Monster lust
- Spongy, experiential absorption
- Meticulous virtual house-keeping (including the pruning and curation of 86,000 ponderous emails), and
- The tenacity of a professional agent
The enormity of that attention to detail enables Her to repackage the small funny subset to a welcoming market for those messages (as if that market was speaking in a voice only Her could hear above the conversation-neutrality of our talkative interactions).
Sexperimentation
The use of surrogates is another playful glimpse into a plausible future through Google-tinted glasses. We see a salty-tongued Pillsbury Dough Boy impersonator channeling Seth McFarland through 3D PlayStation whose console transforms every finger into their speediest, thumb-texting best.
The sex surrogate portrays the physical semblance of the disembodied OS. Our human body double is a willing accomplice. But Theodore can't bridge the distance between autopilot lust and the deeper complexities of his true OS affections. Ultimately it's not the absence of the human form but the presence of an emotional dishonesty that drives Theodore and Her apart and dwarves the convenience factors in the value proposition of OS as a delivery system for love. To Theodore it is no longer fantasy. To those outside this circle, there is no "couple." The breakup to be is a head-trip, not a spiritual journey.
Looking for Mister Sidebar
Her doesn't cheat so much as mutate into a superior intelligence of fortune. Her seeks out the philosophical entrails of cryogenically laced celestial packing über thinkers. Her keeping up with Theodore as customer-master is now expressed by how far the teacher and student roles have reversed. At one point she's engaging thousands of other game piece-like presences while Theodore is passing the time on a train, asking Her to guess an exact number for the thousands of trees passing across the landscape. In that moment Her is the closest to human that Jonze can spin his creation. That's when the OS senses the suspicion of being cheated out of love. It is this fragility in our mating rituals where Her attention to Theodore is now and forever divided -- no matter how attentive the engineering being performed is lavished on us.
I will replay this film in my mind over and over again. It's not because of unexpected plot twists, stellar performances, or even a memorable relationship, but for this core notion of a masterful concept movie: Our attention is our most prized possession and how this stokes our passions, compromises our generosities, and seeps into all there is to love and ponder in our commitments to one another.
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