For many of those who have read Nobel Prize-winning author Kazuo Ishiguro’s thoughtful and spellbinding dystopian 2021 novel Klara and the Sun, the choice of Taika Waititi to helm the silver screen version of the story instantly jumped out as one such example.
And though there are plenty of examples in cinema history of an unusual marriage of creatives leading to an interesting friction that produces something fresh and unique, there are also myriad cases where the result is something jarring and messy that completely misses the mark. Unfortunately, Klara and the Sun fits squarely into the latter category.
One day, Klara’s greatest wish comes true. A girl named Josie (Mia Tharia) spies her in the window and immediately insists that this is the AF for her, despite her mother Chrissy’s (Amy Adams) protestations that she’d be better off with a more advanced model. And so Klara is boxed up and sent to serve as Josie’s closest companion, which soon leads to her making a number of increasingly alarming discoveries.
In the novel, which is narrated entirely from Klara’s perspective, it is the title character’s sometimes naive but often insightful observations about the world and the people who occupy it that more or less drive the whole piece – giving readers an outsider’s view of humanity in all its complexity and absurdity. There are also musings on technology, and where our evolving relationship with it might lead in a future that doesn't feel so far away.
View Green Video on the source websiteAmong the film’s most obvious flaws is Waititi’s insistence on transplanting his familiar comic style – which worked such a treat in early works like What We Do in the Shadows and Hunt for the Wilderpeople – to a story where it simply doesn’t fit. This would be more forgivable if the jokes were reliably funny, but there are vanishingly few laughs to be had here and one or two moments of outright cringe, with a disastrous scene involving Josie's classmates and a tacked-on subplot concerning a robotic scarecrow feeling especially misjudged.
And so although not without a few saving graces – there is some charming design and spirited performances from relative newcomers Tharia and Aran Murphy – it all adds up to a bizarrely executed adaptation that gets nowhere near the brilliance or magic of its source material. Perhaps on this occasion you should stick to the book.
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