HER

The electronic buzz that underscores the film’s opening moments sets an audible motif for what is to follow.  From this monotone can a story with the provocative title, HER,  promise love, yearning, probable heartbreak yet unfold with believability and possible eloquence?

When a very tight close-up of a man’s face next appears, caught up in absorbed concentration as he speaks tenderly to a computer screen --  the answer is a resounding ‘yes’.

Theo (Joaquin Phoenix) finishes speaking and signs off as Loretta.  He reaches over and, from a printer, pulls out a femininely scripted letter he has just voice-dictated.  He works for “Beautifully Hand Written Letters.com.  It’s a futuristic twist on Dear Abby and the company seems to be thriving.  The camera pulls back to reveal myriad cubicles of similarly focused verbal scribes. 

On a slick and quiet subway ride home, ear piece inserted, Theo voice activates his waiting emails.  Restless at home, he activates a cyber female who simulates sex with him, calling out in ecstasy for him to grab the dead cat underneath her bed and strangle her to the point of inducing her sexual climax. ok.

Theo fumbles awkwardly, then plays along.  She gets off, thanks him and hangs up.

Theo plays around with a new Operating System and discovers how to create a sensuous woman with whom to interact.  That is, a bodiless woman whose voice offers the sole definition of her existence.  Scarlett Johansson’s wafts into Theo’s technological fantasy.  His whim turns into an interaction, then gob-smacked affection  and ultimately a deep and dependant love that becomes obsessive and excludes his real girl friend who develops her own OS obsession.  It’s a new age of dating one’s private OS.

Samantha grows and evolves in ways similar to that of a human child’s mind and body.  She bubbles with innocent curiosity.  “What’s it like to have a vagina?”  Yes, a big word but she seems to precociously read Theo’s mind. “Why does it have to be ‘there’?  Why can’t it be under my arm?” Samantha spontaneously draws on Theo’s screen a reclining woman, arm upraised, and a male who is merrily plunging back and forth into her newly placed pudenda! 

Samantha’s point is that an OS can do anything that a real person can do except possess a body. Theo tenderly embraces Samantha, bringing to the fore a quintessential male/female relationship that defines the hidden intricacies of love modern.  Is the significant other really just a manifestation of oneself? Do we seldom get to see who the other really is because we are so self-absorbed in our own needs?

The relationship moves forward, hiccups and struggles as they attempt to comprehend each other.  If I say more I will might discourage you from seeing this remarkable film on your own.  Trust me.  Just go.  Be prepared to have your heartstrings plucked, strummed, then snapped.  Perhaps you will wake up to what is really going on in your own love life.  Maybe you will fall asleep and not want to cope.  Either way, this film has the potential to pull you out of yourself and leave you unmoored.

Director Spike Jonze, also the screenwriter, breaks all the boundaries that define human relationships. His work tickles our synapses while caressing the heart strings. And listen to the score composed by Owen Pallett.  It unfolds subtly and makes it’s appearance when least expected.  His music lifts and illuminates. 

At last we have a film that has the potential to leave you breathless.