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Jonze has also worked as an ad man, and he’s made commercials for Adidas and IKEA.In recent years, that advertising sensibility has come to dominate his work.They would cheat or lie or kill to get inside of someone else.Even in “Wild Things,” little Max, just a boy, rampaged in a wild rumpus and slept under a pile of monsters at night, tormented by loneliness. When Samantha falls in love with Theodore, she makes him fall in love with his own life.Anyone who saw “The Master” knows that Joaquin Phoenix can be dangerous, but Theodore is too sad to be crazy; his melancholy is posed like hip stock photography.(Rooney Mara is the only person who is ever really angry, and she seems to have wandered in from a different set.) In some of Jonze’s previous films, “Being John Malkovich” and “Adaptation,” the protagonists suffered because they wanted to be other people, to feel what other people feel.(Remember that this is the man who served as a producer and sometimes director for MTV’s “Jackass.”) His most memorable work has been as a director of exuberant, sometimes wild, music videos: he’s filmed the Beastie Boys, the Breeders, Björk, Elastica, the Notorious B. G., the Yeah Yeah Yeahs, (who did the soundtrack for his movies “Where the Wild Things Are”), Arcade Fire (who did the soundtrack for “Her”), and many others.

But as the movie goes on, the solipsism of this idea becomes ever more apparent.Samantha’s disembodiment means that Theodore never has to deal with anything sticky, bloody, or wet—anything other than a pleasing, metallic surface.At first she is jealous that she doesn’t have a body.Spike Jonze’s new movie “Her” opens in the Los Angeles office of lonely, sensitive Theodore (Joaquin Phoenix), Letter Writer 612, a romantic who writes copy for a company called Beautiful Handwritten Letters. 1, an operating system that promises artificial intelligence. Samantha is potentially all-knowing but also brand-new to the world. She has a personality, or, at least, she’s getting one.From his airy workspace, sheltered by red and pink colored screens, he speaks words of love and longing into a tiny microphone, and the scrawl appears before him. Twombly.) At the end of the work day, his phone—a small screen encased in maroon fabric that he carries, eyehole out, in his breast pocket, attached to him by a white, wireless earbud—reads him e-mails and tells him the latest news in a robotic male voice, a less likable Siri. The other thing she gets is Theodore—they click like he hasn’t with anyone, not even with his neuroscientist ex-wife (Rooney Mara). Theodore asks for her name and in two tenths of a second she analyzes a baby-name book, and christens herself Samantha.