As a long-time film enthusiast and critic with over two decades of experience under my belt, I must say that the release of “Joker: Folie à Deux” has been nothing short of a rollercoaster ride. Having witnessed the meteoric rise and subsequent fall of numerous productions throughout my career, I can’t help but feel a sense of deja vu when it comes to this highly anticipated sequel.
In its debut weekend at the cinema, the film Joker: Folie à Deux struggled with melody. It managed a dismal $39 million at the box office, significantly less than half of what the 2019 version of Joker made in its first three days, despite having a production budget more than triple the original. The gloomy musical, costing an estimated $190 million, was a flop on all counts, receiving harsh criticism from critics and a D grade from audiences – a first for any comic-book title to receive such a low rating based on exit polls.
After receiving a 12-minute standing ovation and largely unfavorable reviews at the Venice Film Festival last month, expectations for the Joaquin Phoenix and Lady Gaga collaboration have gradually deteriorated. Initially forecasted to earn approximately $70 million during its premiere in cinemas, the sequel’s earnings projections were consistently revised downward throughout the week. As late as Saturday, many competing studios anticipated that Joker 2 would open within the range of $45 million to $47 million. This suggests that those who purchased tickets for Folie à Deux were urging others not to see it: “Skip Folie à Deux.
Compared to the acclaimed reception of Todd Phillips’ initial Joker, that box-office flop is quite the contrast, considering the cultural grandeur it faced. The $60 million drama won the Golden Lion at Venice and grossed $96.2 million in North America during its premiere weekend. It went on to earn over $1 billion globally, received 11 Academy Award nominations (with Phoenix’s performance as Arthur Fleck securing a Best Actor win), and broke records as the highest-grossing R-rated movie ever made.
As a film enthusiast, I can’t help but notice the stark contrast between the financial success of the first Joker and the challenges faced by its sequel. Initially, Warner Bros., being skeptical about the commercial potential of the first Joker as an R-rated character study on sociopathy, chose to share a significant portion of the production costs with Bron Studios and Village Roadshow. These partners were rewarded with a proportionate cut of the movie’s mind-boggling billion-dollar box office earnings.
International” and “The Marvels.” However, despite the success of DC’s “Batman” prequel-reboot-spinoff series “The Penguin” on Max, the lackluster box office performance of “Joker 2” leaves many puzzled. So, what exactly went wrong with “Folie à Deux”?
It Violated the Rules of Sequelization
Based on traditional Hollywood standards, sequels have a specific financial formula to succeed or fail. Typically, the second installment of a franchise may be more expensive than the initial film, but it shouldn’t be excessively so. While not always profitable, a sequel is generally a safer bet compared to an original film to avoid losing money. However, when a film like Joker was produced on a modest budget as a standalone project outside its intended universe, its sequel, which features the return of its star and another high-profile actress, comes with significant additional costs. These costs include a reported $20 million for the actor’s salary to reprise his iconic role, an additional $12 million for the co-star, heavy VFX work, and filming in expensive cities like New York and Los Angeles instead of states offering tax incentives such as New Mexico or Georgia. As a result, this musical sequel with artistic ambitions, estimated to cost around $190 million (with some reports suggesting it could be closer to $200 million), now appears unlikely to recoup its investment.
Its Venice Gambit Failed
In 2019, the talk about the movie “Joker” following its debut at the Venice Film Festival became almost overwhelmingly loud within the cultural sphere. It was rumored that this Scorsese-inspired drama, which bore strong resemblances to “Taxi Driver” and “The King of Comedy,” would be raw, violent, and unsettling, potentially causing genuine concern in real life. Instead of deterring potential viewers, however, the film’s “dangerous movie” reputation surprisingly attracted more people than anticipated.
Due to Warner Bros.’ decision to premiere the sequel at Europe’s premier awards season launchpad, Venice, several Oscar campaign strategists I spoke with argue this was a major blunder (despite the Venice press corps being known for their affectionate and sympathetic nature). The seemingly counterintuitive move of releasing Folie à Deux, which is not a typical crowd-pleaser, allowed the unfavorable qualities of Joker 2 to be loudly criticized, creating a negative word-of-mouth effect that persisted through its opening weekend. It’s suggested that if Warner Bros. had managed the screening more tactfully — bypassing fall festivals and instead showing it to friendly fans and influencers — they could have better manipulated the discourse surrounding the sequel, as well as its initial Rotten Tomatoes rating.
It Wasn’t a Musical … Or Was It?
Fans were informed by reviews from Venice that Gaga and Phoenix might burst into song at pivotal points, performing classic pop tunes like “My Way,” “What the World Needs Now Is Love,” “When You’re Smiling,” and “That’s Life.” The film’s trailer hinted at Phoenix singing some of these songs, and a significant aspect of the promotional campaign highlighted Gaga recording 20 performances for her portrayal of Harley Quinn. However, during festival press conferences, both Lady Gaga and director Todd Phillips stated that it would be misleading to label Joker 2 as a musical. According to Gaga, “I wouldn’t necessarily say this is a musical in many ways.” Phillips added, “Most of the music in the movie is essentially dialogue. It’s just Arthur not having the words to express what he wants, so he sings instead.
Folie à Deux, as you know, is a type of performance that often includes singing instead of spoken dialogue when necessary. Later on, Phillips clarified his remarks, stating: “It shares many traits with a musical. However, what I meant by it is, most musicals I’ve watched end on a happy note.
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2024-10-07 23:54