Does Joker: Folie à Deux live up to the first movie?
As a seasoned gamer and movie aficionado with a soft spot for dark, complex characters like the Joker, I must say that I found myself in a peculiar conundrum when it came to Joker: Folie à Deux.
If you enjoyed the movie “Joker,” you could find yourself strongly disliking its sequel, “Joker: Madness Shares One,” which may come as an enjoyable surprise but ultimately turns out to be surprisingly dull for the character of Joaquin Phoenix’s Arthur Fleck.
Instead of striving to mimic the raw style of Martin Scorsese’s New Hollywood era films, particularly “Taxi Driver,” Director Todd Phillips is now opting for a fresh approach with DC’s intellectual property, whether this new direction proves successful or not.
Joker 2
Despite its efforts to experiment with genre boundaries and presenting a unique concept, it still comes across as a hollow, soulless, and arguably superfluous sequel to the film “Joker“.
In my gaming world, I find myself as Arthur, ensnared within the cold, stone walls of Arkham State Hospital in Gotham. Medication has turned me into a mere echo of my former self, suppressing the wild, imaginative spirit that once thrived within me. The torment doesn’t stop there; the cruel hands of the prison guards have left their mark on me, their unspoken atrocities etched into every fiber of my being. As I await trial, I can only wonder what the future holds for this shadow of a man I’ve become.
As I sat down with lawyer Maryanne Stewart, trying to figure out how to avoid the electric chair, she suggested we play up the idea that there’s a dark force within me, like a twisted Joker, controlling my actions. This notion gave me a glimmer of hope, something to cling onto amidst the chaos.
In the music workshop at Arkham, he encounters Harleen ‘Lee’ Quinzel (Lady Gaga), another inmate, who appreciates his criminal acts and is fascinated by his Joker character.
Once set free, Lee will serve as the Joker’s most fervent defender during his court case, gradually transforming into the Harley Quinn persona, although her specific name isn’t directly stated in the film.
In the narrative, we encounter another significant Batman figure, District Attorney Harvey Dent (Harry Lawtey). However, his role doesn’t significantly impact the storyline. Regardless, let’s not delve too deeply into the intricacies of the DC universe at this time.
The film switches between a bleak world depicted in shades of grey with frequent violent scenes, and a whimsical realm filled with vibrant umbrellas, reminiscent of Cher’s influence on TV shows, and spontaneous tap dance performances. It’s no surprise that Philipps prefers the fantastical setting, as it tends to be more amusing, but unfortunately, it lacks depth in engagement.
At the heart of it, there’s an issue that prevents you from truly empathizing with these characters, or even finding interest in this film altogether.
Through repeated emphasis, it becomes clear that Arthur is not a leader, idol, or hero, but rather a tormented and traumatized individual yearning for love. This narrative does not revolve around societal justice or political upheaval; instead, it focuses on an individual grappling with profound mental struggles.
It seems as though this sequel is intended to correct any missteps or uncertainties from the original Joker’s character development, and provide a clearer understanding of his background.
Contrarily, Lady Gaga’s character, Lee, appears to yearn for global destruction, yet she is always confined within the role of a typical Manic Pixie Dream Girl – an offbeat female figure who provides the main male character with direction in life and his idealized romantic vision.
Lady Gaga brought the film’s most mesmerizing musical scenes and even threw in some fantastic Halloween makeup tutorials. Yet, considering her talent, she should have been given a more substantial role in the movie.
In the end, neither Lady Gaga’s fame nor Joaquin Phoenix’s dedication could prevent a film that was destined to fail on its own accord.
In the unconventional filmmaking approach of Phillips, there are captivating concepts that range from graphic portrayals of systemic violence to a reinterpretation of the superhero or supervillain narrative. There’s a commendable audacity in presenting this take on the character, which diverges significantly from what made the original ‘Joker’ so popular.
The finale delivers a powerful impact, yet an idea emerges that could justify the entire film, but unfortunately, it arrives too late and lacks the necessary impact.
Joker: Folie à Deux arrives in cinemas on October 4.
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2024-10-03 14:49