In Her, all we heard was Scarlett Johansson’s voice – that husky, alluring, beautiful voice – as she played Samantha, an Operating System that fell not only in love with its owner, but in what it means to be human. In Jonathan Glazer’s adaptation of Michael Faber’s novel, Under the Skin, it’s Ms. Johansson’s body that is on display (her voice used sparingly, awkward and British when she picks up her victims on the street) as she portrays a nameless alien come to earth to lure men into an inky goo (for what purpose we can only imagine from director Glazer’s fantastically bleak and otherworldly images). She is an alien that eventually succumbs to that same Samantha trap – she can’t help but become fascinated by what it means to be human. What egotistical creatures we humans are that we constantly have to fantasize about the “other” – be it artificial intelligence, gods or aliens – going completely gaga over us – as if we’re the greatest thing since sliced bread…or chocolate cake, as in one heartbreaking scene that probably has made every female audience member gasp, poor Scarlett is a cursed creature that can’t even enjoy THAT…a piece of chocolate cake. Oh, if only she could be human and enjoy that damn slice of cake!
Yet Mr. Glazer and Ms. Johansson lured me into the trap with master precision. The film is directed with a doctor’s scalpel with every image, every dissolve and overlay, every light, every tone, every musical note (from Mica Levi’s extraordinary score that sets a new bar for the discordant musician turned film scorer, Jonny Greenwood and his ilk) perfectly composed. The packaging of this boring ages-old-tale and self-obsessed human fantasy is so disarming…so transfixing…I didn’t care what it was about. Continue reading