From the first shocking view of a malnourished and emaciated-looking Joaquin Phoenix in Joker: Folie à Deux, you know that he is once again totally immersed in the role. You are made to feel uncomfortable and that sense of unease is relentless. This is a damaged soul and writer/director Todd Phillips doubles down on that deterioration in the first reel of the film, yet after that start, Phillips’ vision hints that there might be a path towards redemption.
The story picks up after the events of the first film with Arthur Fleck AKA Joker tucked away in Arkham Asylum (which is now styled to look like Alcatraz Island). The system is trying to prove his competency to stand trial. He is treated quite questionably there, especially by a guard named Jackie Sullivan played by the always excellent Brendan Gleeson. While there he comes in contact with Lee Quinzel (Lady Gaga).
Their relationship provides the main thrust of the tale but it is a one-sided affair as very little backstory is offered about Quinzel other than her sycophantic attraction to Fleck’s darker side. Most of the exposition is told via dream sequences so it is not easy to decipher what is real and what is not. The dark and gritty reality of living in Gotham City plays an important role as well.
Todd Phillips should be applauded for trying something different as he returns to the world of Arthur Fleck with a new concept. Draping things in a musical format is an odd choice but is does have a number of engaging and surreal moments. He can always count on Joaquin Phoenix’s force of-nature approach to acting to give validity to almost any approach desired. Underutilising Lady Gaga’s role does however feel like a missed opportunity.
Rob Hudson
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