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While 2019 saw the monumental success of ‘Avengers: Endgame’ (2019) becoming the highest grossing movie of all time, it was a spinoff of the iconic Batman villain that became the most profitable film of that year with its miniscule budget of $65 million being matched with a worldwide run of over $1.07 billion. ‘Joker’ (2019) was the talk of the cinema community as it was the first r- rated comic book film to receive such attention and profit and has since been in the minds of cinema enthusiasts and normal movie goers alike. As any successful movie goes in modern times, a sequel had to come and it did this past weekend with ‘Joker: Folie à Deux’ (2024). With Todd Phillips returning as the director and Joaquin Phoenix reprising his role as the titular character, we see another venture into a far more real and depressing look at Gotham than any other interpretation of it has shown. What makes it unique in terms of other kinds of movie sequels is how it adds an ingredient of musical numbers, thanks to the addition of Lady Gaga as this universe’s version of Harley Quinn. Most importantly is that the sequel does not take this interpretation of the classic comic book world into a pulpy tone but retains the dreary feeling of Arthur’s world and does not end with any kind of comforting hope that one expects from the genre of comic book movies.
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The Directing and Performances as Potent as They Can Be
The original ‘Joker’ succeeded in portraying Gotham City as a dangerous and withering town. Crime, smoke, and violence are rampant on the streets of Arthur Fleck’s city which adds to his transformation into the iconic villain. Rather than taking inspiration from the acclaimed ‘Dark Knight’ trilogy, Todd Phillips borrowed many elements from Martin Scorsese’s films such as ‘Taxi Driver’ (1976) and ‘King of Comedy’ (1982). All of these stylistic choices for the world of ‘Joker’ were retained for ‘Folie à Deux’. Rather than taking place on the streets of Gotham, most of the film is set within the sickening Arkham State Hospital with dreary lighting and a dirty atmosphere. Joaquin Phoenix, who won the Academy Award for Best Actor in the original, is still deeply immersed in the character. Right from Arthur Fleck’s first appearance in the sequel, we see his disturbingly deformed body with bony contortions and a somber lack of humor. Even when Phoenix takes the character in a more uplifting state, he still performs with the intensity and emotion required for the character.
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Other cast members from the original such as Zazie Beetz and Leigh Gill make brief yet still effective returns. With an inflated budget from the first, the film managed to bring in more veteran actors, a few being Brendan Gleeson and Catherine Keener. A new portrayal of Harvey Dent, performed by Harry Lawtey, is also part of the cast. The most notable newcomer to this sickening world of Gotham is of course famed singer Lady Gaga whose casting inevitably turned this sequel into a musical. This aspect will be touched more on in the next section, but it is fair to note Lady Gaga’s performance that surprisingly fits into the dark style. Her acting career has taken on a very interesting shape with ‘A Star is Born’ (2018) and ‘House of Gucci’ (2021) having her take on lead actress roles and has now taken on the role of Harley Quinn. An unconventional choice, but a strangely fitting one. A combination of her performance and some superb makeup transforms her into a convincing rendition of the character. It may not be completely up to the accuracy of the comics, but it fits for this interpretation of the character’s world.
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The Odd but Welcoming Addition of Musical Numbers
As soon as it was announced, many questioned how a ‘Joker’ sequel would possibly manage to combine the harrowing tone of the original with musical numbers. Most musicals take on uplifting styles with energetic characters and beautiful set pieces. Rather than attempting to turn the important plot points of the movie into musical numbers, the film instead has all of its musical moments be in Arthur’s head with only a couple taking place as the story is moving. Often, there will be a set piece reminiscent of an old Hollywood musical where Harley and Arthur will be dressed in their costumes and reflect off an upbeat feeling that Gene Kelly would. He and Harley talk about going off together once he goes free even though we, the audience, and perhaps the characters themselves know that is not possible. The inclusion of musical numbers in a bleak drama is at an instant odd, yet the film makes them seem welcome by using them as a character’s unattainable fantasy. Best is when one of the sequences is in relation to Arthur’s present mindset where his changing perception of a situation is reflected in the musical number. The choice of making multiple parts of the ‘Joker’ sequel a musical remains an odd one, but it makes the film distinct compared to the original and even other comic book films.
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The Joker is and Always Will be a Symbol and Never an Individual
The Joker character has had many interpretations throughout the history of Batman where he has been depicted as a crime boss, a cartoon villain, but mostly a crazy murderer who has not a care for life or even profit. The most popular rendition of this character has been Heath Ledger’s Oscar winning performance. ‘Joker: Folie à Deux’ completes the circle of this version of the character. These two movies have served less as an origin story that seeks to integrate the character into a larger DC cinematic universe and more as a sole character study of Arthur Fleck’s tragedy. ‘Joker’ from 2019 managed to showcase Arthur’s tragedy prior to becoming the Joker and ‘Joker: Folie à Deux’ brings to a close the story in giving the suffering of Arthur after becoming the iconic villain. Instead of transforming into the gang leading maniac that we all know, Arthur remains what he has always been. A question that is constantly asked during the film is if the Joker is who Arthur really is or if it is completely separate to his character. Without resorting to spoilers, the film ultimately settles with the latter.
Arthur is not a crazy criminal capable of mass murder but a lonely, disturbed individual who is only able to find meaning in this facade he has created for himself. A facade that manages to inspire countless similarly troubled yet more ambitious citizens who may go on to become the Joker we all know. ‘Joker: Folie à Deux’ does not end with any kind of sanctity or hope. Everyone has turned their back on Arthur and his struggles, but not on the idea of Joker. Similar to how Batman’s sidekick Robin is not portrayed as a single person, but a symbol of a void that fills what Batman lacks in kinship, the craziness and violence within Joker is not limited to a single individual, but spread out amongst young suffering people in Gotham who will go on to accomplish greater acts of the Joker that Arthur’s pathetic life couldn’t. This is what ‘Joker: Folie à Deux’ manages to depict and it is an idea that will leave audience members pondering long after the film is done.
Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson
Crew: Director of Photography: Lawrence Sher | Editor: Jeff Groth | Writers: Scott Silver & Todd Phillips | Producers: Todd Phillips, Emma Tillinger Koskoff, Joseph Garner | Director: Todd Phillips
By Elijah van der Fluit
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Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
