On Oct. 4, “Joker: Folie à Deux” the sequel to Todd Philllips’ 2019 “Joker” was released in theaters, with Joaquin Phoenix resuming his portrayal of the Joker, and Lady Gaga appearing as Harley Quinn’s new adaptation: Lee Quinzel.
Entering the theater on opening night, I anticipated it to be at capacity, but to my surprise, there were only about twenty people in the theater, most likely a result of the shockingly low Rotten Tomatoes score of 31%.
In my opinion, however, that score does not accurately represent the complexity of this film, or its beautiful portrayal of a tragic life. I can understand how the franchise’s original audience may not favor this musical interpretation, but that does not make it ok to discredit the film’s competence as a whole.
The movie is centered around the murder trial of Arthur Fleck, the Joker. It follows the first film’s premise, where the mentally unstable stand-up comic kills six people, leading to his placement in the Arkham State Hospital.
Joker is first introduced to the illusive Lee Quinzel in a music class, where they bond over a shared distaste for people and functioning society. “Folie à Deux” meaning “madness for two” in French, effectively explores their tragic love story, and the complexities of a relationship founded on chaos.
One of the movie’s best features is its exceptional musical score used to narrate the inner workings of Joker’s mind. Composed mostly of classic jazz-era romance songs, the soundtrack offers a timeline of their short-lived romance. Duets occurring primarily in Joker’s imagination depict the pair as their own version of the Sonny and Cher show, contrasting their relationship with that of Bonnie and Clyde, who shared an equally catastrophic fate.
Vintage tunes, combined with Gaga’s incredible vocal range, refer to their relationship as a timeless love that it is evidently not. The Joker’s Imaginations glamorize their encounters so much causing viewers to forget that their only interactions occurred within the mental asylums grim walls. The film’s pacing and structure build a sense of urgency that immerses the audience in Fleck and Quinzel’s tumultuous world.
This view into Joker’s world through music allows the audience to establish a connection to his character. Singing brings out his human side that is often masked by a creepy laugh and smudged face paint.
Additionally, a limited color palette of muted desaturated tones plays a crucial role in establishing the film’s depressive mood. Fleck’s world within the mental asylum is dominated by soft grays and browns, effectively mirroring his bleak state of mind while in captivity.
As Fleck transitions into the Joker, the color palette shifts dramatically. Rich reds, deep purples, and bright greens emerge, symbolizing the embrace of chaos and the revelation of his true identity.
The evolution of color throughout the film also serves as a connection between Fleck and Quinzel. As their relationship progresses, we see how color makes them stick out among the crowd, eventually drawing them together, and growing brighter as their “love” flourishes.
Phoenix delivered a moving performance, perfectly encapsulating how both Fleck and Joker’s personalities coexist within one body. Behaviors like Joker’s horrifying Laugh and Fleck’s shaky voice exemplify how his confidence level changes inside each personality.
Phoenix’s commitment to the role continued with drastic changes in his physical appearance. The audience’s initial view of Fleck shows him to be a freakishly thin shell of a man. His grotesque posture and facial expressions add to the film’s dark side, crafting a character with a more animalistic appearance.
This film serves as social commentary on the many ways in which the American justice system fails those suffering from mental illness. It conjures themes of social alienation, identity, and purpose, leaving viewers to contemplate what Joker’s life would look like if he was given the attention and care he constantly desired.
The ending surprisingly brought me to tears, closing one chapter, but also leaving the possibility for another. Gaga’s portrayal of Quinn was everything I wanted it to be, but I was still left wanting more. In five years time maybe we’ll receive the Harley Quinn spinoff I so desperately want.
Her role in the movie perfectly complemented Jokers, revealing his many shortcomings as well as his deluded mind. Quinzel’s constant manipulation and lies lead viewers to wonder if she ever really wanted Fleck, or just the fame that accompanied his second personality.
Ultimately, I really enjoyed this movie, and would recommend it not to fans of the original movies, but to those who like music and tragic love stories.
