2024’s Biggest Comic Book Movie Flop Is Actually Brilliant

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In 2019, the movie “Joker,” directed by Todd Phillips and starring Joaquin Phoenix, was a massive triumph for all involved, including composer Hildur Guðnadóttir, and it boosted the comic book genre as well. Five years later, “Joker: Madness Duet” came out, with many of the original film’s key players returning. This sequel aimed to replicate the success of the 2019 drama, but instead, “Madness Duet” became one of the most significant box office flops of that year.

As someone who has followed the film closely, I’ve noticed that opinions on it have been quite diverse. While esteemed publications like Empire and Sight and Sound gave it positive reviews, there was widespread outrage among audiences. Some even saw it as a betrayal of the original movie’s fanbase. But could it be possible that many viewers misunderstood this film? Could “Folie à Deux” secretly be a hidden gem?

Admittedly, it hasn’t had a successful run at the box office (even “Madame Web” received a higher rating from CinemaScore). However, upon closer inspection, I’ve found that it does several incredibly clever and subversive things. It shows a level of audacity that most blockbusters lack.

A Masterful Meta-Commentary

In the sequel titled “Joker: Two Fools“, we delve back into the life of Arthur “Joker” Fleck, a man with mental health issues who served time in Arkham Asylum following events from the 2019 film. Yet, “Two Fools” isn’t just about Arthur; it also explores the first movie itself. Lady Gaga‘s character, Harleen Frances Quinzel (a fresh take on Harley Quinn), becomes captivated by Arthur, viewing his “Joker” identity as a symbol of rebellion against the established order. It is revealed that she discovers Arthur through a television movie.

Indeed, you’ve hit the nail on the head. In the 2019 “Joker” film, we find ourselves delving into a narrative that seems to be the precursor to its sequel, “Folie à Deux.” As a critic reflecting on this, I must say that Todd Phillips, in some ways, embodies the fans yearning for Arthur Fleck’s transformation into a criminal mastermind. However, it appears he may have lost sight of the core message from the first film: that Arthur is a troubled soul, crying out for help, who is being neglected by a system that seems indifferent to the plight of the underdog.

In “Folie à Deux,” we witness Arthur grappling with whether his Joker persona is an integral part of him or if it’s a separate identity altogether. The chanting crowds for the Joker echo the cinephiles who were rooting for Arthur’s descent into the criminal underworld. Yet, this isn’t the narrative Todd Phillips intended to portray. Instead, he seems to be using this sequel as an opportunity to delve deeper into the psyche of a man struggling with his own identity and the societal expectations thrust upon him.

The Audience Shares Arthur’s Madness

In the sequel, Arthur’s influence is less prominent compared to the initial film, but this choice is intentional. The theme of a system that overlooks or abuses those without a platform is further emphasized in a powerful manner. As Arthur gains prominence, his entire court case becomes a nationwide spectacle, broadcast across Gotham and, indeed, America as a whole.

In the case of Arthur, it seems his mental condition is being exploited for profit, yet he continues to struggle with no improvement. Similar to how studios profited substantially from Joker, many missing the underlying message. Folie à Deux invites viewers to reassess their perspective on the Joker, challenging preconceived notions about his character and his potential evolution. The audience seems to prefer him as a ruthless villain, but that’s not who Arthur is, nor was it the original narrative plan.

Essentially, the title “Folie à Deux” hints at this idea. This psychiatric term refers to a shared delusion, or “two-person madness.” In other words, Phillips might be suggesting that Arthur’s mental health struggles have seeped into the viewers, who are now partaking in his delusions. The sequel serves as an attempt by the director to alleviate this madness, but it may mean that some original fans will need to dislike and disavow these films. This is a daring move for a filmmaker, and one that deserves recognition.

The Phenomenal Performances of ‘Joker 2’

In the heart of “Joker: Folie à Deux“, it’s once again Joaquin Phoenix we find, the same actor who earned an Oscar for his depiction of Arthur in the 2019 film. However, in this follow-up, he surpasses that performance, conveying such depth of emotion and character solely through his facial expressions and body language, given that he has significantly less dialogue in this sequel. Throughout the movie, Arthur is brutalized by almost everyone, and Phoenix delivers an utterly captivating portrayal of a man who is mistreated by those around him. Although he’s a murderer, Arthur has always been a victim – and this is felt more profoundly in this film than ever before.

In addition to the main actors, the secondary characters also deliver remarkable performances, notably Brendan Gleeson as Jackie Sullivan, a guard at Arkham Asylum who often mistreats the inmates. The way he seamlessly transitions from portraying a cheerful, whistling man to a chilling, heartless abuser is truly unsettling and sure to make viewers uncomfortable. Amidst all this, Lady Gaga’s character, Lee, shines through. She was an ideal pick for the role, effectively conveying Lee’s mental health issues without veering towards stereotypes or exaggerations. Her affection for the Joker appears heartfelt — as does her compassion for Arthur.

Lights On, Music Up

A key difference between Folie à Deux and its previous version lies in the fact that it’s a musical production. Critics have acknowledged the wide range of musical numbers, some of which are part of the storyline (like Arthur’s performance of “That’s Life” at the end of the first Joker, which occurs within the narrative) and others that take place in Arthur and Lee’s imaginative world, often portrayed as a Broadway stage or reminiscent of old Hollywood.

The songs perfectly fit within the movie and seem appropriately placed. Many of these melodies are utilized to highlight Arthur and Lee’s relationship, capturing its ups and downs, with both actors delivering exceptional performances in their portrayal. Additionally, some pieces of music intentionally provoke the audience, altering familiar classics into more discordant or ominous songs.

Furthermore, the movie skillfully employs lighting and color to create striking visuals. The setting of Arkham’s “C ward,” including Arthur’s cell, is portrayed in a dim, monochrome manner, giving it a black-and-white appearance. However, when Arthur moves to the “B ward” to meet Lee, there’s a noticeable shift as warmth and vibrant colors fill the screen, almost as if trying to break free. This color contrast is also reflected in Arthur’s costumes, with him switching between his drab court attire and the vivid hues of his Joker outfit. The clever use of color serves as a symbolic representation of Arthur’s state of mind — the world of the Joker is more vibrant, exciting, but also louder and more aggressive.

It’s unfortunate that many viewers of Folie à Deus seemed determined to dislike it because it didn’t meet their expectations, given that Phillips made his intentions quite clear throughout the film. As Arthur points out: “I don’t believe we’re giving the audience what they want.

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2025-01-06 02:04