Words by JAMES MOTTRAM
Four primary-coloured umbrellas: the first sign that Joker: Folie à Deux is going to be different. Very different. The sequel to Todd Phillips’ Joker, the film that radically reinvented Batman’s nemesis from the DC Comics universe, this continues the story of Arthur Fleck, the wannabe stand-up who winds up on a murder spree in Gotham City. Now in Arkham Asylum, he’s being transported across a rain-drenched courtyard when up pop the umbrellas, held by the guards. Singin’ In The Rain? Well, they soon will be.
Reinventing the film as a musical, Joker: Folie à Deux takes old standards like ‘That’s Entertainment’ and The Carpenters’ ‘Close To You’, slipping them into the narrative, as Arthur shifts, in his mind at least, from comedian to all-round entertainer. Joining him centre stage is Lee Quinzel (Lady Gaga), better known to fans as Dr. Harley Quinn (traditionally, the Joker’s love interest in DC lore). Here, she’s been committed to Arkham by her mother for arson; she even sets a communal prison room on fire, allowing her and Arthur to get some brief alone time to spark their obsessive romance.
Lee is obsessed by Arthur, his murderous actions inspiring her just as they do the thousands of deranged followers that line the streets with ‘Free Joker’ posters – ‘he’s not sick, he’s perfect’ she insists. With the title a French-language reference to a shared mental insanity, the film is something of a twisted love story, as an affection-starved Arthur goes looking for love. Complementing this, the narrative also follows Arthur as he stands trial, his lawyer (Catherine Keener) using the defence that he has a “fragmentation” in his personality, that Joker is entirely separate from Arthur. To dodge the death penalty, Fleck needs to convince that Joker does not lie just below the surface, but with a baying mob outside and Lee feeding his alter-ego, which aspect of him will triumph?
Back in the role that won him an Oscar in 2020, Phoenix once again fully inhabits the part, physically and emotionally. Just the sight of his protruding shoulder blades, gaunt face and cadaver-like chest will make you shiver; but more than that, it’s another masterclass in conveying trauma and mania. The flourish of Joker is incrementally hinted at with the twirl of a jacket or a barking laugh, later unleashed to full tap-dancing, snarling bravado in colour-pop dream sequences and desaturated courtrooms. Alongside him, Gaga further cements her status as a performer of note; not only does she handle the songs adeptly, as you’d expect, but she gives a resonant turn as a woman who will stop at nothing to get what she wants.
Once again, Phillips conjures a grim, grimy and grey Gotham, a world so dirty you feel like scrubbing your hands afterwards. And while the film may boast less fiery intensity than the first, the bold choice to twist a prison movie and courtroom drama into a Hollywood Golden Age musical has to be admired. In the words of Al Jolson, you ain’t seen nothing yet.
Words by JAMES MOTTRAM
Joker: Folie à Deux releases in cinemas 2 October
