In a recent episode of NPR’s “Fresh Air,” a former member of the Westboro Baptist Church – infamous for putting its hateful ideology on shameless display at the funerals of U.S. servicemembers – discusses liberating herself from the beliefs that had indoctrinated her into an isolated worldview of faux moral righteousness.
The way Megan Phelps-Roper puts it, emerging from the dangerous cocoon of the church was a “devastating” exercise in isolation in and of itself—isolation from everything she had known and from the family that had taught her. The cognitive dissonance was world-shattering, and what followed was the start of a lifelong journey to piece together a new perspective.
“How could we have possibly believed that we alone had had the one true answer, and to believe that everyone else was wrong?” she says. “There was just this special kind of shame and humiliation, and this reminder to me of the need for humility and how we see the world and other people.”
Taikia Waititi’s “Jojo Rabbit” knows all about the discomforts of changing your entire worldview. Large stretches of it are spent dwelling on the the solitude of being stranded in a moral No Man’s Land, though you’d be forgiven early on for thinking the director of “Hunt for the Wilderpeople,” “What We Do in the Shadows” and “Thor: Ragnarok” has no intention of broadening himself beyond the sanitized sentimentality of Hallmark Channel Christmas movies. The Kiwi auteur is a sucker for pathos here, and it’s best exemplified by the transformation of Roman Griffin Davis’s adorable Jojo, who has exactly the kind of face Pixar storytellers will search for when they begin making live-action movies. Continue reading →