REVIEW: “Joker: Folie à Deux” (2024)

As a long-time fan who has been through the rollercoaster that is comic book movie fandom, I must say that “Joker: Folie à Deux” is a wild ride that both thrills and confounds. Todd Phillips and his team have once again taken creative risks, and while some of those pay off, others leave one wishing for a more streamlined storyline.

The journey towards the silver screen for “Joker: Folie à Deux” has been intriguing, given its initial announcement as a musical sequel to the 2019 blockbuster “Joker.” Initially causing some confusion among fans, the studio later toned down the ‘Joker the Musical’ label and adopted a more conventional promotional approach. However, even die-hard fans of the original film (a group I’m proud to be included in) have expressed a bit of apprehension regarding what this new installment might bring.

Deviating from the norm in a film can be beneficial if it ultimately satisfies viewers, as is the case with “Joker: Folie à Deux”. While it delivers to an extent, reactions will likely vary broadly. Similar to its prequel, some viewers may already be biased against it. However, the ardent fans might find themselves divided due to the movie’s daring creative choices. Some of these risks lead to success, while others unfortunately detract from the overall film.

Todd Phillips takes the helm once more as director, producer, and co-writer, with an impressive budget swelling close to $200 million. He collaborates again with familiar faces from the initial movie, including his writing partner Scott Silver, cinematographer Lawrence Sher, editor Jeff Groth, and multiple award-winning composer Hildur Guðnadóttir. However, the key figure returning is Joaquin Phoenix, who steps back into the lead role that won him a Best Actor Oscar.

The film titled ‘Folie à Deux’ doesn’t feel like a complete sequel to its predecessor, ‘Joker’. Instead, it seems more like an additional chapter after the original storyline, offering a continuation but with some puzzling differences. The movie blends elements of courtroom drama and prison drama, while maintaining the dark tone from the first film in both settings. However, the narrative gets stuck in a repetitive pattern that frequently switches between these two genres without providing much new development in between.

As a devoted fan, I can’t help but be captivated all over again by Phoenix’s performance as he delves deeper into the troubled life of Arthur Fleck, a man juggling multiple roles – a part-time clown at parties, an aspiring comedian, and a murderer. In the first film, we saw him take six lives, including that of a renowned talk show host on live television. Inspired by Arthur’s unpredictable actions and the emergence of his iconic Joker persona, a mob consisting of disillusioned citizens – some as disturbed as he is – erupted into a wave of violence and anarchy across Gotham city.

While undergoing trial confinement, Arthur resides at Arkham State Hospital, where he’s constantly drugged, exchanging witty banter with a somewhat compassionate guard named Jackie (played by Brendan Gleeson) for cigarettes. In these scenes, not much action unfolds other than a dismal Arthur shuffling along cold, dreary corridors, being escorted to and from his cell, and occasionally allowed outside in the prison yard. However, a glimmer of hope emerges when he encounters and becomes smitten with another inmate, Harleen “Lee” Quinzel (portrayed by Lady Gaga).

Following Arthur’s determination as fit to face trial, his attorney, Maryanne Stewart (portrayed by Catherine Keener), starts working diligently on their defense. Her strategy is to assert that the ‘Joker’ persona doesn’t reflect the genuine Arthur. She posits that the Joker is a separate personality – a product of years of mistreatment and indifference. This argument, claiming Arthur was an unwilling participant and a victim, infuriates his numerous supporters who view the Joker as the driving force behind their twisted ideology. It also displeases Lee, who urges Arthur to accept his true Joker identity and take control.

In the style of the Arkham storyline, the courtroom sequences struggle to maintain interest. They appear to be modeled on the trial of notorious serial killer Ted Bundy. The atmosphere is chaotic and sensational, with live broadcasts adding to the spectacle. Similarly, Arthur adopts his Joker character and elects to defend himself in court, creating a dramatic situation ripe for exploration. However, the narrative fails to fully develop due to frequent interruptions – returns to Arkham Asylum or unexpected musical performances.

In the film “Folie à Deux”, the musical numbers significantly contribute to the narrative, serving as an imaginative and daring method to portray Arthur’s story. However, their effectiveness varies greatly. On one hand, these songs reflect Arthur’s emotional turmoil and whimsical dreams, with each tune carefully crafted to resonate with his feelings at that particular moment. The collection features a mix of covers, many of which are reminiscent of Arthur’s past, while others embody the overwhelming emotions he experiences in the present. Yet, not all of these numbers hit the mark, and their quality can sometimes feel uneven.

Regrettably, the numbers become increasingly heavy-handed over time, becoming more bothersome than insightful – consuming screen time that could have been used to create a more engaging plot. The songs aren’t memorable because they were deliberately sung poorly (as Phoenix admitted to People magazine). From a narrative perspective, it’s sensible as neither Arthur nor Lee are gifted singers, so why make them sound like Sinatra or Fitzgerald? However, this doesn’t necessarily translate into pleasant listening, especially after the fourth or fifth song.

Even with its irritations and imperfections, I find a remarkable courage in this film that captivates me. In a time when we’ve been conditioned to anticipate strict conventions from comic book adaptations, I appreciate the audacity of Phillips and his team in creating a movie that defies all set guidelines. Phoenix delivers another powerfully intense and gloomy performance. Gaga, despite her limited screen presence, uses it effectively, breathing life into an underdeveloped character and making her intriguing.

2024-10-04 21:57

REVIEW: “Joker: Folie à Deux” (2024)

Read More

Minority Mindset