After I recovered from a brief illness from some bug I caught at jury duty that kept me home on Friday, my sweetie-wife and I attended a screening ofĀ Klara and the SunĀ on Sunday morning.
Adapted from a novel by prize-winning author Kazuo Ishiguro, who penned the novel that was the source material for one of my favorite films,Ā The Remains of the Day, and adapted to the screen by Kiwi filmmaker Taika Waititi and co-scripter Dahvi Waller,Ā Klara and the SunĀ is the story of an artificial friend, Klara (Jenna Ortega), a humanoid robot that is purchased as a companion for an ill teenager, Josie (Mia Tharia). Klara, who has never experienced anything beyond the confines of the retail store, has a childlike understanding of the larger world and believes the sun to be a magical being with healing powers. Josieās home is a broken one, her father having left after the death of Josieās older sister, and her mother (Amy Adams) still harboring secrets and unresolved grief that are exacerbated by Josieās serious illness, an illness that is an adverse event from Josie being ālifted,ā that is, genetically manipulated into superior academic ability. Klara attempts to navigate a world that she doesnāt understand, Josieās illness, the housekeeperās suspicions, and the secret plot hiding at the heart of the shattered family while growing beyond the confines of her programming.
Waititi is a filmmaker known for an energetic and somewhat chaotic style of cinema. His first entry in the Marvel Cinematic Universe,Ā Thor: Ragnarok, shook that franchise free from the staid and neo-Shakespearean style in favor of something more akin to the wild and psychedelic art of Jack Kirby. His adaptation ofĀ Caging SkiesĀ into the dramatic comedyĀ Jojo Rabbit, where Waititi himself played the young protagonistās imaginary friend, Adolf Hitler, won both critical and popular praise but again leaned heavily into wild absurdist humor that served as a contrast to the darker story of a young boy enraptured by Nazi ideology and his process of breaking free from it.Ā Klara and the SunĀ required a lighter touch than Waititi typically employs, and he managed it.
I have read only one novel by Ishiguro,Ā The Remains of the Day, and while the writing is absolutely brilliant, I have no memory of the text being particularly funny. It is a tragic tale of a man so bound by his sense of duty that he puts everything else aside, including family and his own chance at real happiness, to perform services that are mostly taken for granted. I suspect that the novelĀ Klara and the SunĀ is equally humor-free, and expecting Waititi to craft a feature film free of humor would be asking too much. Waititi managed to find a balance between his own wild sense of humor and the needs of this particular project.
Cinematographer Mike Berlucchi captures Klaraās wondrous rapture with the sun quite well, giving us magical moments at sunrises and sunsets, even finding those fleeting moments in the middle of an urban landscape when the sun can still bring life to the tired.
Klara and the SunĀ is a charming and sentimental film that never stumbles into being maudlin, one that reminds us that there is magic in life if only we would look for it with the right eyes.



