Jonze blends cinematography and philosophy in “Her”

If you’re at all immersed in the movie world, then you’ve probably heard about “Her,” the 2013 sci-fi flick that features a man falling in love with his computer operating system.

Headed to Arizona for spring break, I was intrigued when I saw it pop up on the flight monitor. Sandwiched between a chihuahua-toting, scantily-clad woman and the nicest 45-year-old to ever exist, I plugged in my earbuds and tuned in. Two hours and six minutes later, I was left with a bizarre swirl of so many thoughts I’m gonna need to split them into categories.

**Color Theory**

The first thing I noticed about “Her” was its interesting use of color. Having never watched a movie directed by Spike Jonze, I was unfamiliar with his style, but as the film played out I became more and more convinced of the intentionality behind his methods. “Her” plays with the color red in a way I haven’t seen before. I usually associate the color with aggression and anger, but here, red is used in almost every scene—yet it feels the polar opposite of those emotions. When main character Theodore wears red (and he consistently does), it stands out in the dull blue-and-green city he lives in. From the get go, audiences can relate to Theodore; he feels lonely, as if he’s the only one still with a heart, as if he’s the only one with a little love left to give.

The use of red in certain scenes, wardrobes and places indicates the presence of love. Most of the movie is without red, save for Theodore’s office adorned with red pillows, red chairs and red plexiglass where he works writing handmade love letters to other people’s significant others. The warm temperature of the red surroundings is one of the only inviting spaces in the movie. In general, color is built on associations, and “Her”’s unique use of it makes the viewer confront their own personal connections.

**Script**

“Her” is mainly centered around one person—main character Theodore, played by Joaquin Phoenix. Because most of its runtime is focused on a single man, I was worried it would lack thoughtful dialogue. Fortunately, “Her” aces this category; it’s a deeply intelligent script, finding comedy, philosophy and sincerity in mundane interactions. Here’s a couple quotations in particular that had me gripping my thighs in the middle seat: “Sometimes I think I’ve already felt everything I’m gonna feel, and from here on out, I’m not gonna feel anything new… just lesser versions of what I’ve already felt.” “The heart’s not like a box; it doesn’t get filled up the more you love. It expands in size.”

“Her,” for being in the science-fiction genre, is remarkably contemporary. And Phoenix, who is mostly known for his roles as gritty characters—especially “Joker”—relays the script perfectly. I’ve seen both “Joker” and “Her,” and from both films I can tell that he always finds a way to represent the human within the character. In “Her,” he’s lovable and relatable—exactly the type of protagonist who’s easy to root for.

**Commentary**

When I told my friends about “Her,” their reactions were predictably sour. “What do you mean this guy falls in love with his computer?” They said. “Sounds weird.” Indeed, this was followed by comparisons to Spongebob, notably the love arc between Plankton and his waterproof computer Karen. By synopsis alone, I get it. It sounds far-fetched and removed from reality; though after watching it, I caught myself thinking: but is it really?The critics of “Her” dismiss the love between Theodore and his operating system Samantha because they argue it wouldn’t be possible for a system to “feel” love. But love’s not something quantifiable, and the operating systems in “Her” are products of the future; they’re artificial intelligent systems that are the first of their kind to think for themselves.

Theodore’s friends and acquaintances question the credibility of his relationship, asking how it can even be possible. Theodore himself, however, doesn’t feel the need to justify it. That makes me think; the thing about emotion is that it’s not scientifically applicable. The only way to know it’s real is if you feel it. And likewise, anything we feel has to be real. What other purpose does it serve? “Her” is original and thought-provoking, both through its cinematography techniques and script. It made me think, which is always a feat I appreciate–and so, I will not hesitate to give it a 9/10.