Joker (2019) when it released caused a cultural storm. We got an original backstory on the notorious clown but what made it unprecedented was the fact director Todd Phillips chose to explore the iconic clown’s character by focusing on his mental health. Something rarely touched upon in comic book movies at the time let alone for a villain as known as Joker. So when Todd chose to take on the titular character, it felt refreshing to see an antagonist’s origins focus on the abuse they suffered and the system that’s been failing them. Enabling their darker side unlocking new personas.
Though, there were fears that it would inspire violence among the public and encourage a wave of incels to come forward, with some even looking to idolise Arthur Fleck and his anarchistic mayhem on Gotham but in real life. While others admonished it for copying Martin Scorsese’s early classics that tackled anti-heroes in a similar, socio-political fashion (Taxi Driver and The King of Comedy) without having the depth or nuance that those 2 films did.
Joker: Folie À Deux sees us return to Gotham and the Arkham Asylum as the psychological examination of Joker continues but this time in the form of a dazzling musical and a heated courtroom drama. For once, Joker (Joaquin Phoenix) pays for his crimes. Put on trial as we look into Arthur’s origins. Whether Joker is distinguishable from his persona or not. Arthur and his lawyer are intent on winning the case and acquitting him of the several charges for the murder of 6 people in the first film with one on live television being Murray (Robert De Niro). But what makes this sequel one of the most anticipated of the year is seeing Lady Gaga don the Harley Quinn character as Joker’s lover, and former psychiatrist, who also finds herself in Arkham Asylum.
Joker is a Celebrity?
We start off with an inspired, animated sequence seeing Joker enter the red carpet surrounded by fans. But we see he is chased by a demon, fighting his own shadow over the carpet. This is a sign of things to come for the burdened jester who grapples with his identity and perception of the world. We are taken straight into Arkham Asylum as we see a physically deprived Arthur dealing with the day to day to life in a mental institution that runs like a prison. He walks past a singing class and sees Lee across the room, pulling a gun sign to her face. Mirroring Arthur in the first film. It is clear Joker has his admirers inside Arkham too.
What makes this film interesting is what it has to say about society’s toxic celebrity worshipping and the parasocial culture. We see with people like Lee how dangerous it is to idolise people you don’t know. That people can be willing to make up their own stories about their lives. To feel included and relate to those that inspire them. There’s also commentary on how mental institutions often operate like prisons. Patients treated like criminals. It’s dehumanising to the extreme and further explains why rehabilitation or any form of competency restored can be impossible for those deemed unwell. How can you seek to free yourself from the system that demands you to be locked away because they fear you and can only see you as a monster rather than a human.
The lack of understanding creates distance and willingness to show indifference. Joker winning the trial was a foolish one to begin with. But even a fool has its charm. There’s no denying that the possibility of Joker being given permission to roam society again has its appeal. And why the film is as intriguing as it is.
A musical or not?
Joker: Folie À Deux carries over similar strengths and weaknesses of the first so your mileage may vary depending on what you thought of the original film. The cinematography is even more colourful and sharper in contrast this time with a more interesting choice of frames. The score is loud and strong and the musical set pieces can be a delight to watch. Both the choreography being great and the mixture of vocals between Joaquin and Lady Gaga make for a show as they sing ‘That’s Entertainment’. Joaquin tries to make the singing work and it fits with his Joker persona but it was hilarious seeing Lady Gaga attempt to sound weak at first when her vocals are clearly beautiful which is noticeable as it goes on.
Coming to the roles, It’s funny how Joaquin loves to leave films early cos when he doesn’t he always ends up being the best part of the film he sticks with. If there’s one thing that doesn’t change from the first Joker film is that Joaquin clearly commits to his role by doing whatever means to make it work. Be it the body loss transformation or the maniacal laughs. Or the dedication to creating his own mental image and world for him to live in, far removed from others.
It’s impressive but you can see why he’s the type of actor to second guess himself so often. His devotion to the role can be too much for him to bear without doubt or eagerness to escape it. Lady Gaga radiates aura, she has the movie star quality that you cherish every time they are on screen. She’s quite prominent in the role yet can be at the periphery too often. Not sure if that’s because I want more of her or that her elusive Harley has me wondering what’s beneath the surface since she tends to lie about her past and motives a lot.
Her and Joaquin’s dynamic gives the film the fresh air it needs. The musical and intimate sequences they share were great. I just wish the film completely committed to the musical. Todd is mysteriously ashamed of the label. As if musicals are a lesser genre or form of storytelling when that is the edge this film has over the first and many other CBMs.
Who is Joker?
While the film struggles to have an identity on what it wants to be, it does one thing particularly well. By teetering on the edge with Arthur’s mask or lack thereof. By the end he’s not portrayed as a tragic hero or a full blown villain. His Joker persona is never fully abandoned nor is it fully embraced. We see a man in constant uncertainty that leaves the viewers unsure on what he truly is deep down. And that is partly what made Joker a household name in the first place. No one knows who he really is or how broken he is, if he even is. Not even the absent Batman can figure him out and certainly not us.
Todd’s failure is caring about what other people think of his style and genre mixing. That’s why the film doesn’t fully satisfy in what it attempts to convey or explore. The courtroom trial drama is an intense and worthy backdrop. With the musical set pieces scattered to give you a gateway into Joker and Harley’s minds. But it lacks the conviction and focus to stick the landing and feel earned in the right places.
In the end Joker: Folie À Deux is a fine watch. Entertaining throughout but misses the mark by not going for broke. It would have changed this sequel from a good popcorn flick to a potentially great, auteur movie. And that’s what you desperately need in Modern Hollywood. Drowning in generic CBMs and cheap looking blockbusters running out of fresh ideas.
Ultimately, it was hard to have faith in this project when Todd was adamant on the film not being seen as a musical. Despite being filled with musical sequences. It’s as if they’re ashamed of the genre label. Only wanting to claim the idea of it to seem different. But you can’t have your cake and eat it too. Or maybe they don’t know what they’re making. I fear the latter is even worse.
Joker: Folie À Deux releases in theaters on October 4.
