As a longtime admirer and follower of Joaquin Phoenix’s illustrious career, I must say that my heart ached a little when I watched “Joker: Folie à Deux.” Having been captivated by his performances in films like “C’mon C’mon,” “The Master,” “Her,” and “You Were Never Really Here,” I couldn’t help but feel a sense of nostalgia for the depth and complexity those roles brought to life.
You can do anything in musical cinema. A bunch of gangsters can shoot each other while performing precise dance choreography. A plant can proclaim its superiority and ferocity to a terrified Rick Moranis. Two vicious mermaids can joyously explore a supermarket for the first time while signing at the top of their lungs. Once you’ve embraced that you’re making a movie divorced from reality, all kinds of exciting creative possibilities open up. From Gentlemen Prefer Blondes to RRR, cinema’s history is littered with superb musicals bursting with imagination.
In this domain, director Todd Phillips enters with the musical sequel to Joker: Folie a Deux, following 2019’s Joker. Musical films can take various shapes, but they struggle to thrive in a self-aware phase. These productions need to be as vibrant and energetic as “The Lady in the Tutti Frutti Hat” or risk ending up like the disappointing 2014 film Jersey Boys. However, the man who remade the first Hangover for its sequel seems to disregard this rule. Instead of delivering a spectacular performance, Joker: Folie a Deux opts for a cautious and shy approach. While this year’s The People’s Joker was full of anarchic and heartfelt vitality, Joker: Folie a Deux appears dull and uninspired in creativity.
Following the occurrences depicted in Joker, Arthur Fleck (played by Joaquin Phoenix) finds himself confined within Arkham Asylum. Known among the guards and fellow inmates due to his chaotic outburst, Fleck has chosen a life of tranquil solitude. However, everything takes an unexpected turn when he encounters another Arkham resident named Harleen Quinzel (portrayed by Lady GaGa). Regrettably, this character’s name alludes to the film’s peculiar self-awareness, echoing the term “Folie à Deux.” As the story unfolds, a character known as Harley Quinn, who has lost her distinctive Queens accent and boisterous demeanor, is primarily referred to as “Lee,” with only one exception – a single line from a psychologist.
In a subtle nod to Folie a Deux’s overzealous dedication to authenticity, even the name “Harley” seems too absurd for Phillips now. I imagine Busby Berkely and Bob Fosse shaking their heads disapprovingly at this man’s wavering conviction. The former chaotic clown once known as Harley Quinn serves as a catalyst, lifting Fleck out of his despair and offering him a glimmer of hope. This is crucial, as Fleck is on the verge of standing trial for his heinous actions. As Fleck starts to experience dream sequences where he and Lee perform musical numbers, harsh reality intrudes through court proceedings. Love, as they say, can be both painful and healing. Perhaps it might provide solace for this tortured jester.
Opting for a musical direction in the potential follow-up to Joker, on the surface, appears ingenious. Such a choice could endow this sequel with a unique and daring character. Regrettably, however, the musical adaptation titled Joker: Folie a Deux seems to echo the structure of the two Sing films in its limited dedication to the musical genre. The songs within are frequently brief, comprising only a verse or sung during voice-over. It’s as if director Todd Phillips and his team are eager to exit the musical numbers as soon as they commence.
Unfortunately, I find the musical “Folie a Deux” rather predictable and lacking creativity, even as someone deeply impacted by the “Mamma Mia!” film. It’s true that this type of musical has had its ups and downs in the past. Frequently, they seem more focused on managing brands than delving into character development through music. Instead of intricate lyrics typical of composers like Howard Ashman or Stephen Sondheim, we have stage performers singing modern chart hits.
Folie a Deux” seems to stick with conventional tunes that are often used in other films and pop culture. The soundtrack features many popular songs from artists like Frank Sinatra, Tom Jones, and Sammy Davis Jr., as well as hits from the 60s/70s such as “They Long to Be) Close to You” and “To Love Somebody.” These choices feel overused and predictable. For instance, “Close to You” is more associated with “The Simpsons,” while using Judy Garland’s songs like “Get Happy” in a darker context has been done numerous times before. It’s not the first time a DC Comics supervillain has sung “That’s Entertainment!” either. If the musical had to be a jukebox, couldn’t they have chosen more unexpected tunes that reflect the chaos and unpredictability of the Joker character?
Folie a Deux” incorporates musical sequences reminiscent of classic films like “Singin’ in the Rain” and “Oklahoma,” where characters burst into song during dream sequences. These scenes offer visually appealing shots thanks to cinematographer Lawrence Sher and costume designer Arianne Phillips, but they lack originality and innovative ideas overall. The frequent use of our main characters against black backdrops creates a repetitive visual motif that diminishes the uniqueness of each scene. Additionally, these musical numbers are short-lived, which restricts their impact. Apart from some impressive costumes and lighting, the musical numbers in “Joker: Folie a Deux” fail to deliver on their potential due to a lack of creativity and originality, essentially squandering the exciting possibilities this storytelling style could have offered.
In another phrase: The musical numbers are repetitive due to Joaquin Phoenix’s performance in “Joker.” It seems as though you’ve seen him somberly sing a cheerful song multiple times throughout the movie. Capturing the lifelessness that pervades the entire film is challenging. Since Jack Sparrow in the “Pirates of the Caribbean” sequels, such a striking performance has rarely been reduced to monotonous clichés. Phoenix oscillates between exaggerating Fleck’s eccentric traits (such as adopting a Southern accent while acting as his own lawyer) or simply delivering dull lines expressing Fleck’s affection for Lee. These “humorous” aspects, particularly, quickly become tiresome from the moment they are introduced.
In this latest portrayal of Phoenix, the striking contrast between his performances doesn’t disguise the fact that his acting feels remarkably shallow. Similar to Mia Goth in MaXXXine, Phoenix seems to be attempting to recreate a once-in-a-lifetime performance that was captivating due to its unexpectedness. However, as we all know, you can’t manufacture the feeling of being a star twice. Additionally, it’s impossible to make another Joker performance equally chilling as the first one. The overarching focus on Fleck in Joker: Folie A Deux makes the superficial aspects of Phoenix’s acting stand out even more. The screen is repeatedly filled with repetitive, derivative “quirky” gestures or shrill laughter that faintly echoes his past performances. Watching this new role made me yearn for Phoenix’s earlier, more nuanced performances in films like C’mon C’mon, The Master, Her, and You Were Never Really Here. Now it seems that he’s merely cashing in on a $20 million payday by rehashing the past.
Highlighting Fleck excessively suggests that Lady Gaga plays a minimal part in this latest portrayal of Harley Quinn. Similar to Jesse Eisenberg as Lex Luthor, Michael B. Jordan as Johnny Storm/The Human Torch, or David Harbour as Hellboy, a role once thought to be perfect seems to have gone terribly wrong in this comic book movie casting. This is not related to Gaga, though. She delivers her limited character with passion and showcases her impressive vocal abilities during the musical scenes. However, even an icon like her can’t produce miracles from a role as generic as this one has been written.
In simpler terms, Phillips finds it too nerve-wracking to refer to this character as Harley. This hesitance prevents her from fully showcasing the character’s complex nature. The actress who brought vibrant energy and memorable performances in her over-the-top lines for House of Gucci is expected to portray a more subdued, Steven Wright-like demeanor in Folie a Deux. Instead of being allowed to embody a multidimensional figure, she’s primarily asked to remain quiet and offer supportive gestures from the back of the courtroom.
The absence in Lady Gaga’s character of the captivating imperfections, disorder, or unique traits that one finds in Joker: Folie a Deux contributes to its slow pace. Similarly, the cautious treatment of female characters in Baz Luhrmann’s films is mirrored in this new musical’s reluctance to delve into controversial themes. The musical numbers feel lackluster, leaning heavily on audience familiarity rather than creating fresh, engaging experiences. These sequences seem overly anxious not to offend those who might find musicals unusual or associated with LGBTQ+ culture. Consequently, background dancers, original lyrics, and extended singing scenes are minimized or omitted altogether.
In this production, you won’t find over-the-top visuals or content that pushes boundaries on politics or gender norms. It’s not designed to provoke discomfort or shock. Instead, it’s quite conventional. Phillips seems content with revisiting the formula he used in “The Hangover” for “The Hangover: Part II”. Now, with “Joker: Folie a Deux”, he’s created a monotonous courtroom drama that occasionally delves into music, but also features bothersome references to its earlier version.
Regrettably, in spite of the commendable attempts by artists such as Lady Gaga, Bradley Cooper, Phillips, and Hildur Guðnadóttir, the film Joker: Folie a Deux falls far short of its aspirations to emulate the style of Yorgos Lanthimos and Gene Kelly. By its closing scenes, any daring creative ideas seem to have vanished, leaving only two “cute” references to the origins of well-known Batman villains. Rather than challenging the norms of comic book movies as intended, Folie a Deux ends up resembling typical fare from such films. In Phoenix and Phillips’ hands, the musical format or overall cinematic experience lacked the necessary inventiveness. Instead, Joker: Folie a Deux provides little more than a 138-minute spectacle that highlights the strengths of better movie musicals.
If you’re looking for extraordinary, off-the-wall films filled with stunning visuals, consider a double feature of “The Lure” and “The People’s Joker“. For fans of musical numbers in a comic book setting, don’t miss the performance of “A Freak Like Me Needs Company”. If you’re into Gotham-based movies that showcase genuine creative dedication, take a look at Joel Schumacher’s two “Batman” films. Unfortunately for Lady Gaga enthusiasts, there are many other superior choices to watching “Joker: Folie A Deux“.
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2024-10-03 21:15