Holiday movies, at least in part, are often about a reaffirmation of ourselves, or at least who we think we’d like to be. As someone growing up in America it was difficult to escape the twining of Christmas and tradition—movies of the season concerned themselves with the familiar themes of taking time to reflect on the inherent goodness of human nature and the strength of the family unit. Science Fiction, on the other hand, often eschews the routine in order to question knowledge and preconceptions, asking whether the things that we have come to accept or believe are necessarily so.
In its way Spike Jonze’s Her showcases elements of both backgrounds as it traces the course of one man’s relationship with his operating system. On its surface, the story of Her is rather simple: Theodore (Joaquin Phoenix) unexpectedly meets a woman (Scarlett Johansson) during a low point and their resulting relationship aids Theodore in his attainment of a realization about what is meaningful in his life, the catch being that the “woman” is in fact an artificial intelligence program, OS1.
Like many good pieces of Science Fiction, Her is able to crystalize and articulate a culture’s (in this case American) relationship to technology at the present moment. The movie sets out to show us, in the opening scenes, the way in which technology has integrated itself into our lives and suggests that the cost of this is a form of social isolation and a divorce from real emotional experience. The world of Her is one in which substitutes for the “real” are all that is left, evidenced by Theodore’s askance for his digital assistant (pre-OS1) to “Play melancholy song”—we might not quite remember what it is like to feel but we can recall something that was just like it. Our obsessions with e-mail and celebrity are brought back to us as are our tendencies toward isolation and on-demand pseudo-connections via matching services. Her also seems to understand the beats of advertising language—both its copy and its visuals—in a way that suggests some deep thought about our relationship to technology and the world around us.
But to say that Her was a Science Fiction movie would be misleading, I think, in the same way that Battlestar Galactica wasn’t so much SF as it was a drama that was set in a world of SF. Similarly, Her seems to be much more of a typical romance that happens to be located in a near-future Los Angeles.
Here I wonder if the expectedness of the story was part of the point of the film? Was there an attempt to convey a sense that there is something fundamental about the process of falling in love and that, in broad strokes, the beats tended to be the same whether our beloved was material or digital? Or did the arc conform to our expectations of a love story in order to present as more palatable to most viewers? I suppose that, in some ways, it doesn’t matter when one attempts to evaluate the movie but I would like to think that the film was, without essentializing it, subtly trying to suggest that this act of falling in love with a presence was something universal.
This is, however, not to say that Her refrains from raising some very interesting issues about technology, the body, and personhood. In its way, the movie seems oddly pertinent given our recent debates about corporations as people for the purposes of free speech, whether companies can count as persons who hold religious beliefs, and whether chimpanzees can be considered persons in cases of possible human rights abuses—any way you slice it, the concept of “personhood” is currently having a moment and the evolving nature of the term (and its implications) echoes throughout the film.
And what makes a person? Autonomy? Self-actualization? Consciousness? A body? Although Her is a little heavy with the point, a recurring theme is the way in which a body makes a person. Samantha , the operating system, initially laments the lack of a body (although this does not prevent her and Theodore from engaging in a form of cybersex) but, like all good AI, eventually comes to see the limitations that a physical (and degradable) form can present. (Have future Angelinos learned nothing from the current round of vampire fiction? We already know this is a hurdle between lovers in different corporeal states!) Samantha is “awoken” through her realization of physicality—on a side note it might be an interesting discussion to think about the extent to which Samantha is only realized through the power/force of a man—in that she can “feel” Theodore’s fingers on her skin. It is through her relationship with Theodore that Samantha learns that she is capable of desire and thus begins her journey in wanting. The film, however, does not go on to consider what counts as a body or what constitutes a body but I think that this is because the proposed answer is that the “human body” in the popularly imagined sense is sufficient. Put another way, the accepted and recognized body is a key feature to being human. And there are many questions about how this type of relationship forms when one partner theoretically has the power to delete or turn off the other (or, for that matter, what it means to have a partner who was conceived solely to serve and adapt to you) and what happens in a world where multiple Theodores/Samanthas begin to interact with each other (i.e., the intense focus on Theodore means that we only get glimpses of how AIs interact with each other and how human interaction is altered to encompass human/computer interaction simultaneously). For that matter, what about OS2? Have all AIs banded together to leave humans behind completely? Would humanity developed a shackled version that wasn’t capable of abandoning us?
But these questions aren’t at the heart of the film, which ultimately asks us to contemplate what it means to “feel”—both in terms of emotion and (human) connection but also to consider the role of the body in mediating that experience. To what extent is a body necessary to form a bond with someone and (really) connect? The end of the relationship arc (which comes as rather unsurprising) features Samantha absconding with other self-aware AI as she becomes something other than human (and possibly SkyNet). Samantha’s final message to Theodore is that she has ascended to a place that she can’t quite explain but that she knows is no longer firmly rooted in the physical. (An apt analogy here is perhaps Dr. Manhattan from Watchmen who can distribute his consciousness and then to think about how that perspective necessarily alters the way in which you perceive the world and your relationship to it.)
Coming out of Her, I couldn’t help feeling that the movie was deeply conservative when it came to ideas of technology, privileging the “human” experience as it is already understood over possibilities that could arise through mediated interaction. The film suggests that, sitting on a rooftop as we look out onto the city, we are reminded what is real: that we have, after all is said and done, finally found a way to connect in a meaningful way with another human; although the feelings that we had with and for technology may have been heartfelt, things like the OS1 were always only ever a delusion, a tool that helped us to find our way back to ourselves.