In Defense of Joker: Folie à Deux

What’s black and white and red all over? Joker: Folie à Deux, the desaturated sequel to Joker, which is currently undergoing a public beating. With a weekend haul of only $37.8 million in the U.S. and a CinemaScore rating of D based on audience surveys, the buzz around this film is less about praise and more about condemnation. Although it has managed to gather an international total of $80 million, it seems unlikely that Joker: Folie à Deux will live up to the towering success of its predecessor, which earned over a billion dollars and netted Joaquin Phoenix an Oscar for Best Actor.

An intriguing look at the complexities of fame and madness in film.

Yet, you cannot accuse directorial mastermind Todd Phillips of simply phoning it in. In a recent episode of Esquire’s Freeze Frame, Phillips delves into the film’s intricacies, exploring Arthur Fleck’s (Phoenix) unsettling journey through Arkham Asylum as he grapples with his identity as the Joker. He discusses the cast—including Steve Coogan’s sordid journalist, Brendan Gleeson as a shadowy guardsman, and Lady Gaga’s understated portrayal of Harley Quinn, who’s intriguingly rebranded as ‘Lee’. One of the film’s core themes, Phillips notes, is the “corruption of entertainment.”

In one particular scene, Coogan’s character thrusts Arthur into the spotlight, jabbing at his past misdeeds (hint: it involves a lot of murder). As Phillips astutely observes, “In the States, often we put trials on television… If everything is entertainment, what is actually entertainment?”

This question reverberates throughout the film, as fervent Joker fans express their dissatisfaction with the film’s courtroom drama approach, Lady Gaga’s most subdued role to date, and a downbeat ending that sees Fleck stabbed by a fellow inmate dubbed “Psycho.”

A Shadow of Its Predecessor

Does this film pack the same punch as its predecessor? While there are moments of visual splendor—such as the asylum guards’ grey umbrellas morphing into a kaleidoscope of color from Arthur’s perspective—Joker: Folie à Deux severely lacks the element of surprise that enthralled audiences the first time around. Moreover, despite some musical elements being incorporated, Phillips insists this is not a musical; indeed, one might argue that it features too few uplifting numbers and too many somber trumpets belting out “Oh When The Saints Go Marching In.”

The film’s unique commentary on fame captures what many have missed about its protagonist. Arthur, once a symbol of hope for the marginalized in the first installment, faces an existential crisis in the sequel. Now thrust into the limelight—pursued by tabloid reporters and embraced by fans—he feels more tormented than ever. His lawyer, played by Catherine Keener, strives to convince the courtroom that Arthur suffers from a split personality and requires appropriate treatment—if such a thing can be found in a city like Gotham.

As Arthur takes the stand, the Joker persona evades him, an absence felt keenly as he fumbles through his speech, despite the applause from supporters who idolize a version of him that barely exists.

“Folie à Deux” cleverly refers to a shared psychosis, suggesting a bond between Arthur and Lee as well as that which exists between Arthur and his fans.

Cultural Reflections in Cinematic Form

In shining a light on the film’s anemic reception, it is worth considering its commentary on celebrity culture. Fans may despise the slow pacing, but there is value in its exploration of a world where the lines between media, justice, and entertainment warp into a disturbing illusion. One can’t help but recall The Franchise, a cutting TV comedy from Armando Iannucci and Sam Mendes that satirizes the creation of superhero films. It reveals a Hollywood fraught with uninspired decisions driven by vast committees. Within that lens, Joker: Folie à Deux becomes an intriguing case study; while it might not meet the lofty expectations of die-hard fans, it still offers a glimpse into the absurdities of contemporary cinematic creation.

In the end, while the bleak and twisted narrative of Joker: Folie à Deux may stymie traditional superhero film enthusiasts, it remains a striking, albeit imperfect, reflection of our discourse on fame, identity, and entertainment. As audiences grapple with their expectations and interpretations, perhaps embracing the film’s flaws will offer some cathartic appreciation for art’s complexities in modern times.

Exploring the dark side of fame and identity.

As Joker: Folie à Deux continues its theatrical run, audiences are prompted to reflect upon the evolving narratives within the superhero genre. While it may not cater to everyone’s tastes, it invites us all to consider the ramifications of what it means to be a character in a story that blends reality with the nightmarish edges of fantasy.