As a longtime fan of both Joaquin Phoenix and Lady Gaga, I must say that “Folie à Deux” is an intriguing blend of music, drama, and a touch of madness. The film offers a captivating performance by Phoenix, who once again proves his versatility as an actor, this time delving into the world of song and dance with panache. His portrayal of Arthur Fleck is unsettling, poignant, and desperate, creating a compelling character arc that, paradoxically, is overshadowed by the co-lead role of Lady Gaga’s singer-actress.
In the case of a movie earning over $1 billion at the worldwide box office, Todd Phillips’ gritty take on a supervillain’s origin, “Joker”, has been remarkably divisive. Those who support it admire its grimy social-realist perspective and its daring exploration of Batman mythology while connecting it to a morally questionable portrayal of modern America on the edge of chaos, fueled by class and wealth disparities. Critics against it argue that it presents Arthur Fleck in an ethically problematic or even reckless manner by trying to evoke sympathy for the type of disenchanted masculinity that leads to gun violence, often associated with incels (involuntary celibates)
In 2019, an unexpected winner of the Golden Lion at the Venice Film Festival was a movie produced by a major Hollywood studio, which is not commonly recognized with this prestigious award for blockbusters like it. Not only did the film earn a substantial profit, but in the subsequent year, it garnered Oscars for Joaquin Phoenix’s powerful and unsettling portrayal as the lead actor, as well as for Hildur Gudnadóttir’s haunting soundtrack
Upon reflection, the politics portrayed in the movie “Joker” were disturbing because they seemed overly pessimistic and lacked a clear, consistent perspective that could have made them thought-provoking or challenging in a meaningful way
Regarding the Venice competition, Phillips’ follow-up film, titled “Joker: Folie à Deux“, may receive either acceptance or rejection for similar reasons. It intensifies certain controversial elements from the original character study by keeping Phoenix’s Arthur in prison or courtrooms throughout, with a brief glimpse of freedom near the end – along with musical sequences that transform jazz, pop, and Broadway tunes into soliloquies or physical representations of the persona Arthur believes he embodies
In preventing the Joker from causing chaos on the streets of Gotham City, the film effectively weakens him significantly. While I won’t delve into specific plot details to avoid spoilers, it’s worth mentioning that this sequel portrays the main antagonist as a shell of a person, shaped profoundly by his troubled childhood and mental health issues. Consequently, much of what we discovered about him in the previous movie remains relevant. The dance sequences from the original film titled “Joker” are also reprised in this sequel
The portrait is quite different from the charming, mischievous villain we’ve adored since Cesar Romero initially wore the clown makeup and purple suit in the 60s TV series, and this difference becomes even more pronounced if you consider his character’s debut in the DC comics of the 1940s
Including Lady Gaga as Lee, who later transforms into Harley Quinn, brings a touch of romantic intrigue to the character of Arthur, which was missing from his portrayed relationship with neighbor Sophie Dumond (Zazie Beetz) in Joker. This new element adds depth and complexity to his storyline
Here, Beetz briefly enters the scene as the prosecution team’s witness, with Harvey Dent (Harry Lawtey from HBO’s Industry) leading the charge. However, before his villainous persona Two-Face emerges, this is when we see him. Previously seen in the previous film, Arthur’s social worker (Sharon Washington) and Gary (Leigh Gill), a compassionate colleague from his clown job, also take the stand
Lee is presented as a patient at Arkham State Hospital, a psychiatric facility where Arthur, a maximum-security inmate awaiting trial for murdering five individuals, including one on live television, resides. Despite their circumstances, they establish a rapport during their initial interactions and foster a deeper bond when Arthur becomes part of the music therapy group, where he first lays eyes on Lee. She poses as an ardent admirer, but is she aiming to imitate or exert influence over him?
Maryanne Stewart, Arthur’s defense attorney (played by Catherine Keener), strongly believes in this matter. Compassionate and sincere, she argues that Arthur is suffering from a condition caused by trauma, known as fragmentation. According to her, it was another personality within him, the Joker, who committed the crimes. She aims to demonstrate to everyone that Arthur is fundamentally human
The prolonged delay in attempting Arthur’s case, due to necessary competency hearings and medical evaluations, has caused this process to span several years. During this period, Arthur’s physical condition has deteriorated dramatically, making him appear shockingly thin. (The protruding bones visible on Arthur’s back, as he is dragged from his cell in just underwear for the first time, adds a distressing element to the scene.)
Gaga exudes an engaging energy, balancing affection and fascination towards Arthur, providing him with a boost of happiness and optimism that makes him hum “When You’re Smiling” as he heads to court. Their musical performances, whether duets or solo acts, inject the usually somber movie with a much-needed liveliness
Because Lee isn’t polished as a singer, Lady Gaga deliberately gives her voice a rough, gravelly tone. However, in moments where the story allows for an uninhibited performance, the movie matches her soaring vocals with equal grandeur. As both the Joker and Harley Quinn view their criminal activities as dramatic performances, making the sequel a musical seems fitting, given their theatrical inclinations
One of the standout features is a 60s-inspired television variety show where Arthur and Lee transform into a somewhat disturbing version of Sonny and Cher, performing “You Don’t Know What It’s Like,” more recognized as the Bee Gees hit “To Love Somebody.” The performance transitions smoothly from a dreamy wedding scene to a lively nightclub act, with Lee singing at the piano and Arthur showcasing his energetic tap dance moves during “Gonna Build a Mountain.” The finale is an exquisite rooftop dance number that reimagines them as unconventional Fred Astaire and Ginger Rogers figures, dancing gracefully against a massive moon
Mark Friedberg’s imaginative set designs, from the gritty Arkham to the stylish dreamscapes, bring fresh perspectives to the visual landscape. Arianne Phillips’ colorful costumes for the musical numbers add an enjoyable touch. Lady Gaga’s stunning orange sequined outfit featuring a skirted halter top and clown pants, along with a spectacular ’60s-inspired maxi-fall wig, is a standout style choice
Critics might argue that Lady Gaga is not given enough opportunities in the film. However, despite the longing for more elaborate performances where she can truly shine, the character played by Gaga does undergo a complete transformation (arc). Including more of her could potentially turn Folie à Deux into a Harley Quinn origin story, which might have been unintended
Interestingly, despite sharing the limelight with a renowned pop icon, it’s mostly Arthur’s solo performances that fill the scenes. This suggests that he’s utterly detached from the harsh truth of a courtroom drama where the prosecution is advocating for capital punishment. As a fan, I find this intriguing and adds an unique depth to the narrative
Moved by Lee’s affection, he launches into a performance of Stevie Wonder’s “For Once in My Life,” transitioning from a soft, spoken-word rendition filled with ecstasy to a lively, fast-paced version complete with a vibrant dance sequence. The song “Bewitched, Bothered and Bewildered” is another enchanting display of romantic transport. Throughout the courtroom scenes, he occasionally breaks into songs such as the energetic hit by Shirley Bassey, “The Joker,” and the poignantly hopeful ballad by Jacques Brel/Rod McKuen, “If You Go Away.” Phoenix skillfully performs these musical interludes with charm and emotion
Though Joaquin Phoenix’s prior familiarity may not match the astonishing metamorphosis he displayed in Joker, he skillfully connects that role with another compelling performance. His portrayal of Arthur is both unsettling, as he laughs inappropriately, and poignant, as he introspectively ponders his own identity. The character’s obsession with his own celebrity is evident in moments like when he pleads with Lee to provide an honest critique of the TV movie about his actions, which he has been denied the chance to watch
He experiences a turbulent interaction with a dishonest interviewer (portrayed by Steve Coogan), who provokes him into a confrontational response. Additionally, he develops a prickly relationship with a prison warden (Brendan Gleeson, as usual assuming command), which escalates into several instances of ugliness and violence
Despite its two-and-a-half-hour length, the film “Folie à Deux” seems somewhat sparse in terms of narrative and can at times feel uneventful. Unlike the first “Joker,” which had the strong framework provided by not just one but aspects of two Martin Scorsese films, “Taxi Driver” and “The King of Comedy,” this film appears to be more based on a concept rather than a solid story foundation. It evokes memories of various things, such as Golden Age movie musicals and auteur experiments like “One From the Heart,” but fails to establish a practical model that offers much coherence or structure
On a technical front, it’s a robust, powerhouse production. Once more, cinematographer Lawrence Sher captures the gritty ’70s-inspired ambiance of the economically struggling city and the harsh institutional feel of Arkham. However, he also manages to dispel the gloom during musical scenes with an abundance of the vibrant kitsch that was limited to the set of late-night network show Live! with Murray Franklin in the initial movie. Furthermore, Gudnadóttir crafts another ominous score brimming with sturm und drang. In simpler terms, the visuals and music continue to reflect the gritty atmosphere of the city and Arkham, but also introduce more colorful elements in musical sequences that were previously only seen on a late-night TV show set. The score remains ominous and dramatic, as it did before
The film “Folie à Deux” is expected to earn a large amount of money, boosted by the inherent intrigue factor of its precursor which was viewed by millions, and further enticed by Lady Gaga, along with the daring decision to turn it into a musical. The opening scene featuring an animated mock-Looney Tunes cartoon from the animator of “Triplets of Belleville,” Sylvain Chomet, is another brave stroke
As a die-hard Batman fan, I’ve got to give props to Phillips and Silver for daring to reimagine a classic DC character in their unique way. However, it’s tough not to question their decision when they seem ready to erase an entire future for one of the Bats’ most formidable foes from comic book lore. I can hardly imagine the hardcore Batman universe enthusiasts staying excited about a movie that ends with their newous love,- by writing, It seems me it, it seems wits;itments; itientos;imientos;imientos;imitions;imidations;imidisings;imiditis;imiditizations;imiditusions;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imiditus;imid; it’s a movie that being, it seems like Joker in The Dark Knight Rises, where the hero is brought back to life after being defeated. In the world of Batman comics, the villain is resurrected or restored to life. In other words, I’m talking about how Phillips and Silver are reinterpreting a canonical DC character. Essentially, they’re taking creative liberty with their own interpretation of the canonical DC comics for a canonical DC character. To put it simply, they’re reinventing a classic DC character
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2024-09-04 20:30