“Joker,” a much-discussed film, was released in cinemas in 2019. Five years later, there is now a bold attempt to further develop the controversial character of the Joker. The artistic vision is unique, but not all viewers will appreciate the experimental approach of “Folie à Deux.”
In 2019, Todd Phillips’ “Joker” caused heated discussions even before its theatrical release. The focus of the criticism was the alleged glorification of a gunman – above all the escalating violence that the socially isolated and mentally unstable protagonist Arthur Fleck (Joaquin Phoenix) ultimately acts out as the Joker in an act of self-empowerment. The accusation that the film romanticized Fleck’s madness and brutality and thus conveyed a dangerous message even brought the US Federal Police FBI into action.
The question of what these viewers were thinking when they criticized it seems legitimate. After all, “Joker” was a thriller set in the fictional world of Gotham City, which is characterized by corruption and decay. Should a film about the Joker – one of the most iconic and dangerous characters in the DC Universe – be a peaceful and morally harmless drama? Hardly. So it’s hardly surprising that the figure, which symbolizes chaos and anarchy, was shown here in full force. Phoenix’s portrayal of the clown, suffering from schizophrenia and increasingly losing touch with reality, was captivating and brought out the tragic side of his character.
With “Joker: Folie à Deux” (French for “common psychotic disorder”), Phillips delivers not only an impressive sequel, but also another opportunity to divide audiences into two camps. The story picks up after his spectacular series of murders in the first part: Arthur Fleck sits in Arkham Asylum while his possible death penalty is being heard in court. While he is still celebrated as a symbol of liberation by the citizens of Gotham City who stand in droves in front of the courthouse, in the institution he mutates back into the bullied victim that he has been all his life. It wasn’t until he met the patient Dr. during a singing therapy session in the psychiatric department of his facility. When Harleen “Lee” Quinzel (Lady Gaga) meets his life takes a sudden turn. A love story unfolds between him and Lee, fueled by their shared passion for chaos and destruction. And while his lawyer tries to plead insanity in court, Fleck – encouraged by his new girlfriend – increasingly comes to terms with his dual identity.
The chemistry is right
The acting performances of all the actors are undeniably great – for example Catherine Keener as the lawyer Maryanne Stewart, who Joker fires in his megalomania over the course of the film in order to represent himself as Joker. Harvey Lawtey as arrogant prosecutor Harvey Dent and Brendan Gleeson as mean prison guard Jackie Sullivan. Joaquin Phoenix, who won an Oscar for his performance in the first part, shines once again in his role as an antihero caught deep in madness and despair. He manages to portray his character’s internal struggles in a way that is both frightening and tragic. Lady Gaga also gives her Lee a charming mix of madness and vulnerability. However, the film doesn’t offer her many opportunities to fully demonstrate her acting skills.
The Joker is celebrated by the citizens of Gotham City. In prison, however, he is harassed.
(Photo: IMAGO/ZUMA Press)
This is particularly unfortunate because Gaga and Phoenix’s chemistry works really well. Above all, her dynamic singing and dance scenes, which continually oscillate between reality and fantasy, are impressive. In this shared psychotic disorder that gives it its title, the film artfully moves between levels and creates fascinating visual and emotional moments. Joker and Harley Quinn, as she calls herself from now on, create an almost hypnotic atmosphere in their dream world, in which they perform for an imaginary audience, and bring an unusual but interesting dimension to the film.
For art house lovers, the combination of psychodrama and surreal musical as well as the focus on the characters’ interiors in their dream world may be an aesthetic delight – they make the film an extraordinary cinematic experience. And without them, scenes between the main actors together would probably have been rare, after all, the Joker is in prison. This circumstance does not offer much room for the development of a relationship. But director Phillips’ decision to hire a superstar like Lady Gaga, only to banish her to the back of a courtroom, is rightly described by the US portal “IndieWire” as “much more criminal than anything Arthur Fleck has ever done in this makes a film”.
Mixed reactions are certain
However, the emphasis on the visual aesthetics of these scenes also robs the dark, destructive story of much of its narrative power. For fans who were looking forward to a sequel to the first part, that could be a problem. The film loses pace and tension due to the frequent slipping into the imagination of its two main actors. The original appeal of the first film, which offered a raw and brutal examination of mental illness and social neglect, gives way here to an almost operatic production. That doesn’t mean the film doesn’t have violent and dark moments – they’re there and when they occur, they’re intense. But anyone who expected “Folie à Deux” to continue on the psychological thriller path of the first part will probably be disappointed. Instead, the sequel becomes a hybrid work that attempts to push the boundaries between thriller, psychodrama and musical.
Overall, “Joker: Folie à Deux” remains bold and original, which will undoubtedly bring it mixed reactions again. He dares to mix genres and make radical artistic decisions. For some it is celebrated as an artistic masterpiece, for others it remains a controversial film that raises more questions than it answers. “Joker: Folie à Deux” is anything but conventional and offers a cinematic experience that either delights or confuses – but certainly leaves no one indifferent. And that is perhaps the highest compliment one can pay the film.
“Joker: Folie à Deux” is now in cinemas.
