Joker: Folie á Deux Review
Five years ago, the world could not stop talking about Joker. People loved it, people hated it, some even believed it would cause outright panic for its depiction of violence (I mean really?). However, Joker (2019) was nothing special. A derivative, uninspired copy of Martin Scorsese’s Taxi Driver and The King of Comedy, but with far less nuance and about as much subtlety as a clown at a funeral. Frankly, the buzz around it at the time was annoying, and seeing it nominated for best picture alongside Parasite (a film which tackled the same themes as Joker in a far deeper and more interesting way) made for one big eyeroll. Then again, what does it matter; it amassed over one billion dollars at the global box office and won two Oscars for its star and score. Jump to 2024, and this all seems like a figment of Arthur’s imagination. The sequel’s box office has opened to half of the original and fans have left in anger and disappointment. “Let’s give the people what they want”, Lady Gaga’s Harley Quinn states during one of Arthur’s daydreams, which is precisely what Todd Phillips has “Failed” to do - and that’s why Joker: Folie á Deux was just crazy enough to work.
The film opens with a Looney Tunes inspired cartoon called, “Me and My Shadow”, that summates the conclusion of the first film, while also establishing the themes of identity and mental suffering that Arthur is experiencing. From there, we understand that two years have passed since Joker’s murders caused chaos in Gotham City, for which Arthur/ Joker is awaiting trial. The prison is no different from the city: dour and oppressive, populated with abusive guards, with Jackie (Brendon Gleeson) acting as Arthur’s lead tormentor. However, Arthur does eventually find some solace when he begins musical therapy, meeting Harley “Lee” Quinzel, a woman infatuated by the Joker. From their fleeting introductions, the two become obsessed with each other and it is from this love that Arthur’s musical fantasies are born.
Jumping between a prison drama, courtroom drama and musical, Joker: Folie á Deux is doing a lot here, all of which does not work, but Todd Phillips’ central conceit is what pulls it altogether. What or who is really on trial here becomes the main question and a meta one at that, as Phillips has constructed a sequel that, in its very DNA, puts his first film and its reaction on trial. It is clear Phillips wants to right the wrongs of his previous work, dissecting the pitfalls of falling for a false martyr like the Joker. It is clear Phoenix is onboard with Phillips’ story as he is better than ever as Arthur/Joker, showcasing his musical talents all the while bringing more sympathy and pathos to this tragic figure. Arthur is caught in the middle of an existential trial too big for him to understand, simultaneously victim to public scorn and the identity that is Joker.
Phoenix’s Raspy, rough tones make for one of the standout music sequences late in the film that brings real emotion to the film’s final act. Gaga is stellar as well, if not slightly underutilised, acting as a surrogate for the obsessive fans of Joker (2019). Even with a more metaphorical role, Gaga of course brings her vocal prowess to numbers such as ‘They Long to Be’ and, in particularly, ‘Gonna Build a Mountain’. The pair have sincere on-screen chemistry making this manic match an intriguing watch.
Yet even with its romantic, seemingly optimistic musical numbers, Phillips uses these moments of escapist alleviation to create a stark contrast to Arthur’s reality. The musical numbers enter a realm of bright lights, pantomime, dance, and joy, all juxtaposing the hopelessness of Arthur’s life. The implementation of these musical devices only emphasises the stark reality, in turn making this a film that is downright darker than its predecessor.
At times, Joker: Folie á Deux does fall flat. The very fact that the trial revolves around what we have already seen makes it tiresome at times and the pace feels slightly uneven. The one strength the original had over this was its tightening tension, where the audience knew, the film was building to an eventual explosion. Here, that tension is missing, replaced by a narrative that is only going in one clear direction without any moments of real surprise.
When the curtain is called on Joker: Folie á Deux, it made for a fascinating experience. Very rarely do we get to see a filmmaker come to terms with his previous work on such a grand scale, dissecting its misunderstandings in a uniquely controversial format that only adds to the tragedy of Arthur and the falsehoods placed upon him. It is not perfect, but there is something so admirable about what Phillips has done here: securing a budget quadruple, the size of its predecessor, implementing divisive musical segments and using the very basis of a sequel to critique the false idolisation his previous film. Well…that may just be the greatest joke of all.