“Jojo Rabbit”  (M) ****

THE screenplay that Taika Waititi has confected from Christine Leunens’ novel about a 10-year-old boy in Nazi Germany during the closing months of World War II is the foundation for as biting a satire on Adolf Hitler as any filmmaker has made.

Hitler comes up for mention or more in at least 75 cinema and TV titles, some derived from archival footage, most the creations of filmmakers to ensure that the world never forgets the monster and his terrible legacy.

For my money, Oliver Hirschbeigel’s “Downfall” (2004), using a screenplay based on Traudle Jung’s book, gives the most reliable account of the person.  It should. She was Hitler’s secretary.

In “Jojo Rabbit”, director Waititi also plays Hitler. It’s a lovely portrayal of a simple man using a dictator’s powers to persuade a child that it was the Jews who had ignited the war. 

Jojo (11-year-old Roman Griffin Davis in his first professional role) has joined the pretty-much obligatory youth organisation Hitler Jugend. Jojo’s hero isn’t the local troop commander (a nicely over-played send-up by Sam Rockwell) or his haus-frau-turned-Jacqueline-in-offfice (Rebel Wilson). These two comic characters are being seriously despicable while generating laughter. 

When Jojo can’t understand what’s going on around him, he seeks imaginary explanation from his hero to end all heroes – Adolf.

Jojo has a mate, also in the Jugend – Yorki (Archie Yates). And above all, he has a loving mother Rosie (Scarlett Johansson) who hasn’t heard from the husband who went to war, wears a distinctive pair of shoes that features in the film’s most heart-breaking and emotionally powerful moment and is keeping a very dangerous secret. 

Behind a panel in her apartment lives a young woman, Elsa (Thomasin McKenzie). Jojo’s discovery of the panel sets in motion his education in what is a Jew. And a great confusion about what his imagined hero says about Jews.

These dramatic parameters could form a tough, uncompromising and ultimately depressing movie. Fortunately, Waititi understands that hazard and deftly avoids it. His comedy skills are undeniable – remember “The Hunt For The Wilderpeople”? 

This time, the follies of Nazism make a fertile field for amusement – you must at least smile at the prolific use of “Heil Hitler” even though you find it distasteful. There was at the time scant reason for Germany or the Allies to smile. 

Waititi shot his film in the Czech Republic. It looks remarkably, and regrettably, realistic. We’re about to embark on the movie industry’s annual orgy of self-praise and political finagling called the Oscars.  “Jojo Rabbit” looks good for at least a nomination.