JOKER: Folie à Deux Review: Try And Put On A Happy Face

Introduction

Joker: Folie à Deux, which means ‘the madness of two’, is a follow-up to the immensely successful Joker (2019). That film crossed $1 billion at the box office and earned Joaquin Phoenix an Academy Award. Arthur Fleck is now institutionalized at Arkham, awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur stumbles upon true love and finds the music that’s always been inside of him.

Review

In the time between films Arthur, or rather Joker, has become a Ted Bundy-like figure with a dedicated following of mask-wearing sympathizers and has even been the subject of a TV movie. With the support of a sympathetic attorney (Catherine Kenner, Get Out) and the oppression of the high-security wing of the asylum; Arthur has suppressed his alter ego enough to face trial, have a fair hearing in court, and escape the death penalty.

Following a spell of good behavior, Arthur is granted access to the minimum security wing’s choir. There he meets fellow patient and kindred spirit, Lee (Harleen) Quinzel. Her admiration for him (or more specifically, Joker) and his murderous acts against the establishment, plus access to music once again…reignites his maniacal nature. And as Arthur and Lee descend further into obsession they escape into shared fantasies of song and dance.

A Musical

When discussing making the first Joker, director Todd Philips described it as a film about mental illness disguised as a comic book movie. This film is a musical disguised as a Joker sequel. Similar commentaries are carried over from the first film: the treatment of the mentally ill, corrupt officials, press sensationalism, crime fascination, and general nihilism. But these aspects are merely sprinkled throughout the film as opposed to being actual themes.

Other than its score, which was so powerful in the first film, the film does not offer original music with Arthur and Lee performing a variety of famous numbers either in their location or in fantasy. This is where the film stumbles and loses audiences.

Momentum is often stalled when the characters start to perform. As a device, we appreciate it helps us understand Arthur and Lee’s inner workings. But often they are simply ‘singing’ in a quiet voice in moments that overstay their welcome. In some cases, the song choices are not instantly recognizable and only relate to the moment by a thread. Even big numbers lack the scale or style that makes them memorable. Toes will rarely be tapped nor gooses bumped in the cinema during the performances, and the soundtrack will not be a best seller.

Indiana Jones and the Temple of Doom opened so memorably with a Busby Berkeley dance number. Steven Spielberg desperately wanted to direct a musical, and George Lucas wanted the film to open with one. It seems Philips had little interest in engaging or committing to musical, theatrical fantasy in a meaningful way. That, or it was a decision to keep numbers limited to dance club settings. For a movie that keeps talking about surrendering to fantasy or facing reality, there are missed opportunities to commit to the fantasy.

Structure

The musical aspect becomes predictable. We start waiting for it, but not necessarily looking forward to the next musical interlude. In the first act, it is engaging as Arthur and Lee’s interactions deepen. Yet, it becomes laborious as it interrupts the film’s rhythm, ironically.

In the first film, Phillips openly riffed on Taxi Driver (1976) and The King of Comedy (1982) as templates. However, this film could have used a template as a guide. There are many possible inspirations Phillips, who also co-wrote the film, could have touched on. Bonnie and Clyde (1967). The Phantom of the Opera (1925). Beauty and the Beast (1991). Natural Born Killers (1994), or the years of source material from the peerless ’90s Batman: The Animated Series from where the character of Harley Quinn originated, or subsequent comic books.

Performances

Phoenix and Gaga give great performances. However, despite Phoenix seemingly very comfortable playing Arthur, something is lacking that made the first performance so iconic. He also doesn’t get anything that approaches the staircase dance. And the movie should feel like a duet or two-hander – but often feels more like The Arthur Fleck Show feat. Lady Gaga.

Although Lee is prominent throughout the film, we rarely get any time alone with her to truly understand her mental state, which would have benefitted her character immensely, as we find out she is an unreliable narrator of her own story. The audience is also expecting ‘Harley Quinn’ but this character is many, many multiverses away from being a Bird of Prey. There is no denying both are fully invested and committed to their roles, and some of the best scenes are them simply talking (not singing) to each other.

Other Missed Opportunities

As well as the musical aspect not being fully explored, by choice or not, the filmmakers have no interest in referring to this character as a future adversary of the Dark Knight. The only reference is a blink and you’ll miss it shot of Wayne Tower in the Gotham skyline. Many Batman films explore the struggle in the duality of Bruce Wayne/Batman, this film could have delved deeper and left Arthur’s struggle more ambiguous. Instead…it is reduced to a sad knock-knock joke.

There are a few noteworthy moments in the courtroom. The events of the first film are reflected upon with the welcome return of Zazzi Beetz but the emotional highlight is when Arthur’s former clown colleague takes to the stand in a truly tear-jerking moment. This is the only instance when the familiar, chaotic, irreverent, menacing comic book/animated TV show Crown Prince of Crime appears when he affects a southern drawl while addressing the jury…we see The Joker. But the moment is fleeting as is the impact of the rest of the film.

In Conclusion

Arthur Fleck’s journey has perhaps come to an end as has Philips’s contribution to DC, but judging from the final scene The Joker will live on…but he will need to live up to his reputation…and get what he ‘f***ing deserves!’

Joker: Folie à Deux from Warner Bros is in cinemas now.

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