The 49 Subversive Choices of ‘Jojo Rabbit’

Watching Jojo Rabbit (and then re-watching it) gives a formidable lesson in the difference between good and outstanding storytelling.

Let me explain…

Good storytelling provides a beginning, middle, and end with a protagonist who endures conflict/antagonism (both internal and external) in every scene, a rising line of action within three acts, an appropriate tone, a compelling premise, and everything that’s textbook.

Outstanding storytelling does all of this, but makes more audacious choices, taking risks that pay off. In other words, whereas good storytelling makes obvious, stock choices; outstanding storytelling makes subversive, against-the-grain ones. Jojo Rabbit‘s most audacious choice is that it presents a Holocaust drama about a nationalistic ten-year old boy discovering that his mother is hiding a fifteen year-old Jewish girl in their house in a darkly comedic way. (Not since “Springtime for Hitler” have I seen such a dark topic presented with such comedic flair). Like Promising Young Woman and Parasite, Jojo Rabbit takes the bitter with the sweet, presenting war and hatred as something absurd (which it is).

I thought it would be an interesting exercise to identify all of the choices that would be obvious and stock in a good film and then identify how Jojo Rabbit gives us subversive alternatives.

Below is a summary of the film with my thoughts interspersed.

Obvious vs. Subversive Choices in Jojo Rabbit

Amid the crumbling landscape of Nazi Germany in Falkenheim, ten-year-old Johannes “Jojo” Betzler ( (Roman Griffin Davis) eagerly joins the Deutsches Jungvolk, the junior wing of the Hitler Youth, deeply entrenched in Nazi ideology. He’s accompanied by his imaginary friend, a comical portrayal of Adolf Hitler (Taika Waititi). Despite his fervor, Jojo earns the nickname “Jojo Rabbit” after hesitating to kill a rabbit during a training exercise. Determined to prove himself, Jojo unwittingly injures himself in a grenade mishap but is allowed to remain in the camp by Captain Klenzendorf (Sam Rockwell), who oversees his training with Fräulein Rahm (Rebel Wilson) and Freddy Finkel (Alfie Allen).

Number	The Obvious Choice	The Subversive Choice
1	The film’s tone must be serious. We’re talking about WWII here.	The film’s tone can be at-times hilarious. Playing it as a satire reveals the absurdity of war.
2	Adolf Hitler is a tyrant.	Adolf may have been a tyrant in real life, but he’s kind of a goof here. In other scenes (like Jojo’s attempt to kill the rabbit), he’s actually compassionate and somewhat paternal to the fatherless Jojo).
3	Adolf appears as a sudden imaginary friend (think corny Inciting Incident)	Adolf was already Jojo’s imaginary friend at the film’s start.
4	Jojo is a teenager/young man.	Jojo is a ten year-old boy
5	Using Wagner (or one of Hitler’s favorite composers) for opening number	Playing a German version of The Beatles’ “I Want to Hold Your Hand” over footage of Nazis and Germans.
6	Captain Klentzendorf being serious AF as a commanding officer, opening up the Jungsvolk camp.	Captain K (and company) being almost nonchalant and comical about it. (This also happens in later scenes).
7	Seriousness when it came to burning books	Rahm saying “Now, get your things together, kids. It’s time to burn some books” in a comedic way.
8	Jojo accidentally sets off the grenade to the shock of everyone there.	Captain K nonchalantly saying “don’t do that” and Yorki (Archie Yates) being more upset than the adults.
9	Jojo being wheeled away, unconscious.	Jojo puts a bloodied “thumb’s up” as he’s wheeled away.

At home, Jojo stumbles upon a shocking secret: his mother, Rosie (Scarlett Johansson), is hiding a Jewish girl named Elsa (Thomasin McKenzie) in their attic. Initially terrified and hostile towards Elsa, Jojo grapples with the revelation, torn between his indoctrinated beliefs and his growing curiosity about Elsa. Inspired by Klenzendorf’s suggestion to gather intelligence from Elsa, Jojo tentatively engages with her, hoping to uncover her “Jew secrets.” However, their interactions challenge Jojo’s convictions, leading to a gradual friendship with Elsa, who challenges his beliefs with wit and compassion.

Number	The Obvious Choice	The Subversive Choice
10	Rosie’s behavior would be off, walking on eggshells due to hiding Elsa in the attic	Nope. She’s cool, calm, and collected and even goes so far as to knee Captain K at the office in front of the other officers for allowing Jojo to be harmed.
11	Don’t let a child hand out conscriptions! Don’t give him a gun!	Let him hand them out.
12	Handing out conscriptions/posters is a dour affair.	As Jojo paints the town with them, Hitler’s face comedically changes.
13	Jojo and his Mom should avoid the traitors who are hanged in the square. It’s a sad sight!	Jojo asks, “What did they do?” to which Rosie replies “What they could.”
14	Upon Jojo’s discovery of Elsa in the attic, Elsa is timid and meek while Jojo is angry and upset.	The reverse is true. Jojo is timid and meek with Elsa angry and upset. She practically bullies and cajoles him.
15	Imaginary Hitler is furious at Jojo’s discovery.	Imaginary Hitler is concerned, but he’s still acting clownish in attempting to strategize.
16	Jojo talks to the wall, telling Elsa she should find somewhere else to live.	Elsa surprises him from behind, telling her “not okay” and “get the hell out of my room”
17	When Jojo asks Elsa about Jews, she gives an earnest and impassioned speech about tolerance.	She plays around with him, saying “we’re demons who love money.” The scene ends with her practically giving him a stranglehold – she is NOT a victim! (This happens again in subsequent scenes).
18	After this interaction, tension over dinner between Jojo and Rosie.	After this interaction, playful tension between Jojo and Rosie. She is just not scared and, in fact, puts charcoal on her face like a beard to play-act like his father.
19	Jojo and Elsa attempt to become friends by being nice to each other.	Jojo and Elsa (inadvertently) become friends through playful banter.
20	Rosie is grieving and war-fatigued.	Rosie, who believes that life should be celebrated, starts dancing by the riverbanks.
21	Rosie is resentful of Elsa.	Rosie is maternal towards Elsa.
22	Captain K and Finkel are homophobes.	We don’t know for sure if they’re homophobes, but the German Shepherd gag definitely shows that there’s some serious sexual tension between the two.
23	Jojo creates a serious-sounding name for his book about Jews.	He, Finkel, and Captain K start bantering about “Yoohoo Jew” “Jews News,” etc.
24	As Captain K prepares for the invasion, the map is serious. His uniform is serious.	He uses various types of nuts on the map. His uniform is sparkly with feathers.

As Jojo’s relationship with Elsa deepens, Rosie’s involvement in the resistance against the Nazis becomes apparent. When the Gestapo investigates, Klenzendorf aids Jojo and Elsa in deceiving them, but tragedy strikes when Rosie is executed for her resistance activities. Devastated by his mother’s death and confronted with the inhumanity of the regime, Jojo’s beliefs begin to shift. With nowhere else to turn, he scavenges for food to sustain himself and Elsa in the chaotic aftermath of the war.

Number	The Obvious Choice	The Subversive Choice
25	Rosie does not put the “Free Germany” flyer out – she has enough to hide!	Rosie puts a flyer out on the bench.
26	Jojo tells Yorkie that he caught a Jew.	Yorkie is pretty nonchalant and saw that they had caught some in the forest.
27	Elsa calls Jojo a Nazi.	Elsa says that he’s not a Nazi, just a ten year-old boy who likes swastikas.
28	Jojo hates Elsa.	Jojo has a crush on Elsa (note butterflies in the stomach)
29	The Gestapo stop by. They are intimidating. Jojo is scared.	The Gestapo are pretty funny (note: “Heil Hitler!” repeated) and kinda of funny. Jojo remains cool.
30	Elsa is hiding in the attic, scared.	Elsa (as Inge) reveals herself, defiant at the Gestapo. She has his knife.
31	Gestapo officer Deertz storms into the girl’s room.	Deertz asks if she can go into her room.
32	He asks for her papers, and she doesn’t have them.	She has papers and knows the information on the papers (phew!).
33	Elsa and Jojo just narrowly escape being found out.	There’s a twist. She said the wrong date, and Captain K overlooked that (he knows that she’s not really who she says she is).
34	There’s a big scene involving Rosie being taken away and hanged.	Jojo follows a blue butterfly to see her hanging body (just the shoes).
35	Jojo collapses in Elsa’s arms, wanting sympathy.	Jojo stabs Elsa with the knife.
36	After stabbing Elsa, there’s a long, drawn-out apology; the two hide from the bombs being dropped.	The two are friendly. They watch the bombs.
37	Elsa says that Rosie hated her because she’s Jewish.	Jojo says that Rosie hated him because he’s a Nazi.

Following Hitler’s suicide and the Allied offensive on Falkenheim, Jojo and Elsa’s lives hang in the balance as they navigate the perilous aftermath of the conflict. Captured by Soviet soldiers, Jojo witnesses Klenzendorf’s selfless sacrifice to protect him. Fearing Elsa’s departure, Jojo fabricates a story about a fictional escape plan to Paris, but Elsa sees through his deception, revealing the truth about her deceased fiancé. Despite his feelings for her, Elsa views Jojo as a brother, prompting Jojo to confront his imaginary friend, symbolically rejecting his former beliefs.

Outside, Elsa and Jojo embrace their newfound freedom as they dance among the liberated streets, their journey marked by resilience, compassion, and the enduring power of human connection amidst the darkness of war.

Number	The Obvious Choice	The Subversive Choice
38	The invasion happens almost immediately.	There’s a montage indicating the passage of time of at least several months.
39	During the invasion, Jojo sees Yorki in the grips of battle. (It’s serious!)	During the bombing, Jojo sees Yorki, who drops the gun and accidentally explodes a store. (It’s funny!)
40	Jojo and Yorki run for cover! It’s an invasion!	Jojo and Yorki catch up (like two old chums on the street) while the bombs explode around them.
41	With full war chaos going on in slow motion, Jojo must save the day!	Jojo just needs to survive – it’s beyond his control.
42	Finkel and Captain K are stonecold serious, battling it out.	Finkel and Captain K are practically in drag.
43	The Allies liberate them. All is well.	The Allies kill various people, including Captain K, who intimates he knew that Elsa is not who she says she is. He pretends to say “get away, Jew!” to Jojo as a means to get himself killed by a soldier.
44	Jojo sees Yorki, who’s dead or seriously maimed!	Jojo sees Yorki. They hug. Yorki says he needs to go home for a cuddle and that “it’s definitely not a good time to be a Nazi.” Yorki mentions Jojo’s Jewish girlfriend, nonplussed.
45	Jojo goes home to find Elsa. They’re happy that the Germans lost.	Jojo finds Elsa in the attic, tells her that Germany won the war. He is distraught. He opens her book to see that she’s drawn pictures of him and Rosie.
46	Elsa is set to go find Nathan.	Elsa mentions that Nathan has been dead for a year.
47	With the real Hitler dead, we never see him again in Jojo’s imagination.	Hitler appears again (with a bullet in his head). Jojo rejects him, saying “Fuck off, Hitler.”
48	Upon leaving the Betzler house, Elsa is sad.	Upon leaving the house, Elsa seems relieved. And then slaps Jojo.
49	Upon leaving the house, the two dance in joyous exasperation. The war is over!	They dance with nervous uncertainty (to a German version of David Bowie’s “Heroes”).

Of course, this is my version of what is considered an obvious choice versus what is considered a subversive one. I’d be curious to hear what you have to say…