Joker: Folie A Deux
Starring Joaquin Phoenix, Lady Gaga and Brendan Gleeson
Rated M
4/5
In Joker: Folie A Deux, Arthur Fleck (Joaquin Phoenix), aka Joker, awaits trial for his crimes, and meets a young fan named Lee Quinzel (Lady Gaga) in Arkham Asylum.
Folie A Deux makes Arthur happier, more vulnerable and more sympathetic, and director Todd Philips delivers some clever, cynical commentary on Joker and the viewer response.
As in the first film, Arthur becomes bolder and more energised as the trial looms and he embraces his Joker persona, but his lawyer Maryanne Stewart (Catherine Keener), who argues a multiple personality defence, symbolises viewers who adamantly argued that Arthur isn’t the Joker.
Lady Gaga is quietly intense as Lee, slays during the musical numbers and represents obsessed fans who miss the point and idolise terrible people.
The examination of trauma and mental illness becomes obfuscating noise, almost poking fun at people psychoanalysing Arthur in the first film.
While I agree with the critical consensus that Joker 2’s plot is somewhat thin, I differ in that I enjoyed the musical numbers.
Most of them are rough and unrefined, which fits the grim setting.
The more polished, elaborately-staged musical sequences reflect Arthur and Lee’s dreams and idealised selves, with one amusingly framing them like Sonny and Cher.
Brendan Gleeson is volatile and imposing as Arkham chief guard Jackie, the film is gloomy but beautifully-shot, and Hildur Guðnadóttir once again stuns with the score, often adding an eerie edge to classic feel-good songs.
Joker: Folie A Deux isn’t as cohesive as the first film, and some viewers will chafe at the intense self-reflection and musical numbers, but I thoroughly enjoyed seeing Philips dissect his own work and offer a dark but surprisingly fun character study on how the idea of the Joker takes hold.
– Seth Lukas Hynes
