Joker : Folie à deux

Joker: Folie à Deux, directed by Todd Phillips, is a bold but deeply divided sequel to the critically acclaimed Joker (2019). The original, which won Joaquin Phoenix an Oscar for his portrayal of the deranged Arthur Fleck, was a gritty character study that explored society's fractures through the lens of mental illness and societal neglect. This time, Todd Phillips takes an unexpected turn, blending psychological drama and musical elements in a way that arouses both curiosity and confusion.

The film picks up shortly after Arthur Fleck's violent transformation into the Joker. Now incarcerated in Arkham Asylum, Arthur's world has been reduced to a dreary routine of confinement and medication. The fame he gained from his murders and the live execution of host Murray Franklin has made him a macabre celebrity, and it's clear that society outside Arkham is still reeling from his actions. Joaquin Phoenix reprises his role with the same physical intensity, his emaciated body and haunting eyes reflecting a man who remains deeply broken. In this sequel, however, Arthur's madness is less raw and more simmering, confined within the sterile walls of Arkham, where he awaits trial for his crimes.

The film introduces Lady Gaga as Harleen Quinzel, or Harley Quinn, although she is referred to as Lee for most of the film. Lady Gaga, who is used to playing emotionally complex characters, brings a unique blend of vulnerability and menace to the role. Harleen Quinn is a psychiatric patient who falls in love with Arthur after watching a TV movie about his life four times. Her fascination with him soon turns into a dark, obsessive love, and it is through this relationship that the film explores the concept of madness shared by two - hence the title Folie à Deux. Lady Gaga's performance, while captivating, is often overshadowed by the film's refusal to fully explore the depth of her character. While she is supposed to be Arthur's equal in madness, the narrative relegates her to the role of sidekick, an emotional accessory to Arthur's journey, rather than a character in her own right.

The relationship between Arthur and Harleen is at the heart of the film, and although their chemistry is palpable, it seems somewhat underdeveloped. They are bound together by their shared trauma and rejection by society, but the film fails to delve into what really motivates their bond. Is it love, or simply a reflection of their mutual need to feel seen and validated? The musical numbers that accompany their relationship are supposed to express their inner turmoil and growing attachment, but these sequences often fall flat. Despite Gaga's powerful voice and Phoenix's intense physicality, the musical interludes lack the emotional punch that would elevate their twisted romance into something truly memorable.

The decision to make Folie à Deux a musical is both his boldest and most controversial choice. The film incorporates a variety of classic mid-20th-century tunes, including Stevie Wonder's For Once in My Life and Shirley Bassey's The Joker, to express the characters' moods. However, these musical numbers are disconnected from the rest of the film. Todd Phillips and co-writer Scott Silver use these sequences to blur the line between reality and fantasy, as many of the songs take place in the characters' minds. While the idea of using musical numbers to represent Arthur's delusions is intriguing, the execution often seems clumsy and out of step with the film's darker themes. The juxtaposition of these lively, colorful numbers with the grim reality of Arthur's situation creates an unsettling contrast, but one that doesn't always work in the film's favor. The sequences lack the visual and emotional exuberance necessary to fully justify their inclusion, often feeling like interruptions rather than integral parts of the story.

One of the film's strongest elements, however, is its visual style. Lawrence Sher, who reprises the role of cinematographer, once again captures the gloomy, dilapidated world of Gotham with remarkable skill. The film retains the 1970s-inspired aesthetic of the first installment, with its muted colors and grimy textures, creating a sense of claustrophobia that reflects Arthur's deteriorating mental state. The asylum itself becomes a character in the film - a suffocating, labyrinthine structure that traps Arthur and the audience in its nightmarish corridors. Mark Friedberg's production design, particularly in the fantastical musical sequences, adds a layer of surrealism that contrasts with the grim reality of the prison scenes. The film's ability to move visually from the cold, oppressive environment of Arkham to the colorful, larger-than-life musical numbers is one of its most impressive feats.

Thematically, Joker Folie à Deux continues to explore the idea of identity and the masks we wear to survive. Arthur is still grappling with the duality of his personality - is he Arthur Fleck, the failed comedian who has been beaten down by life, or is he the Joker, a chaotic force who has inspired a movement of disillusioned citizens? This internal conflict is reflected in the film's courtroom drama, where Catherine Keener's character Maryanne Stewart, Arthur's lawyer, argues that the Joker is a separate personality, a manifestation of Arthur's trauma and mental illness. The courtroom scenes, though integral to the plot, are often slow and disjointed, the film struggling to maintain pace between the more fantastical musical sequences and the legal drama unfolding in Arkham.

One of the main secondary characters is Jackie (played by the excellent Brendan Gleeson), the sadistic prison guard who torments Arthur throughout his incarceration. Brendan Gleeson's performance adds a layer of menace to the film, his character representing the societal forces that continue to oppress Arthur. The interactions between Arthur and Jackie are among the film's most intense, although they ultimately lead to predictable conclusions that don't push the narrative in new or interesting directions. Harry Lawtey's portrayal of Harvey Dent, the prosecutor who goes after Arthur, is equally disappointing, his character being little more than a plot device to move the trial forward.

Although the film attempts to develop the themes of the original, it often feels like it's treading water. The exploration of Arthur's madness and society's fascination with violent outsiders is fascinating in theory, but the execution lacks nuance and depth compared to the first film. Whereas Joker was a raw, visceral depiction of a man pushed to the limit, Folie à Deux feels more like an exercise in style than a work of substance. The film's commentary on celebrity, mental illness and the media's glorification of violence is present, but lacks the sharpness and precision that made the first film so provocative.

The film's climax, like the rest of the narrative, is mixed. While there are moments of genuine tension and emotional weight, the overall execution feels rushed and somewhat anti-climactic. The film attempts to make a grand statement about Arthur's place in the world and his relationship with society, but this doesn't have the desired impact. The final scenes leave the audience with more questions than answers, particularly about the direction of Arthur's character and the future of his relationship with Harleen.

Joker: Folie à Deux is a visually ambitious film that dares to take risks, but fails to deliver. Joaquin Phoenix and Lady Gaga deliver convincing performances, but the film's uneven pace, disjointed narrative and lackluster musical numbers prevent it from reaching the same heights as its predecessor. Although the film has its moments, it often feels like a series of missed opportunities, its bold choices failing to blend into a coherent whole. Fans of the original may appreciate the film's ambition, but it's unlikely to leave the same lasting impression as Joker. DC comics purists may cry betrayal of a cult character in favor of a more realistic one, and look forward instead to the next Superman film directed by James Gunn. A film that promises to be closer to the source material, the comics we adore so passionately.

Joker: Folie à Deux
Directed by Todd Phillips
Written by Scott Silver, Todd Phillips
Based on Characters by DC Comics
Produced by Todd Phillips, Emma Tillinger Koskoff, Joseph Garner
Starring Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz
Cinematography : Lawrence Sher
Edited by Jeff Groth
Music by Hildur Guðnadóttir
Production companies : Warner Bros. Pictures, DC Studios, Joint Effort
Distributed by Warner Bros. Pictures
Release dates : September 4, 2024 (Venice); October 2, 2024 (France), October 4, 2024 (United States)
Running time : 138 minutes

Seen on October 2, 2024 at Gaumont Disney Village, Room 11 Imax seat E18

Mulder's Mark: