Arthur Fleck, also known as the Joker (Joaquin Phoenix), is imprisoned in Arkham Asylum. In the past, he entertained the guards with jokes and silliness, especially Jackie (Brendan Gleeson), but now he is silent and withdrawn, with no interest in amusing anyone. While inside the Asylum, Arthur is offered the chance to join the Asylum’s choir and meets another inmate, Lee Quinzel (Lady Gaga). At their first meeting, Quinzel brings a smile to Arthur’s face and encourages him to use his imagination and sing, which brings him even more joy. Soon, a new romance blossoms.
Meanwhile, outside of Arkham Asylum, an ongoing debate and legal battle continues regarding Arthur’s identity. Is he Arthur Fleck, or is he the Joker? Or perhaps he is Arthur Fleck, a man with a split personality that could manifest at any moment. This uncertainty adds a layer of intrigue to the narrative, keeping the audience engaged and eager to uncover the truth. Considering the murders he conducted in the previous film, the court needs to make a verdict that could potentially lead Arthur Fleck to the electric chair. Will the people of Gotham City truly understand who Arthur is? Will he be deemed a crazy madman who should be punished, or is he something else unlike anything Gotham has ever seen?
Like the previous instalment, Joker: Folie à Deux is dramatic and contains a crime story. However, this new film is also a musical, which is a significant surprise. Todd Phillips, who directed the previous Joker film released in 2019, returned to direct this sequel. Interestingly, Phillips is also known for his work behind the camera in various comedy films such as Hangover (2009), Due Date (2010), and Old School (2003). For the record, I was a massive fan of the previous film, and if you feel the same, this new journey might potentially disappoint you.
The positives of the film are evident. Firstly, Joaquin Phoenix continues to shine brilliantly in his role, bringing an unpredictable presence filled with past sufferings and trauma. Lady Gaga’s performance is commendable, and her chemistry with Phoenix on screen is noteworthy. The costuming is perfect, and the visuals continue to impress, maintaining a strong and unsettling tone.
The music in the movie is a bit of a mixed bag for me. On the one hand, I enjoyed gaining a deeper insight into the troubled mind of Arthur Fleck, and some of the songs were enjoyable. However, I can’t deny that some of the songs were not suited or engaging during the film. Some tracks felt out of place or unnecessarily prolonged the film considerably. It isn’t easy to be highly excited about the musical moments when you know that most of the scores are just part of a dream or a vision, and they don’t significantly advance the story.
The story in this film is also more subdued than the previous film. It primarily takes place in two locations: an asylum and a courtroom, and the focus is on Arthur’s mind and his thought process. This is well executed and keeps the audience engaged with some unexpected turns. However, the pacing is slow, and the musical numbers don’t always work in the pace’s favour. What particularly bothered me more than anything else was the film’s ending, which felt underwhelming, considering the journey of the two movies combined. Fans of DC or the Joker (2019) deserved better.
Overall, fans of the previous Joker film will be surprised by the new chapter of Arthur Fleck. The lead performances, the costumes, the set designs, and the visuals are praiseworthy and outstanding. However, the sequel’s focus on Arthur’s mind and sanity makes the world surrounding him feel smaller, and the slow plot progression and musical numbers contribute to a prolonged experience. The musical numbers are a mixed bag, with some being impactful and others feeling out of place, especially when they are part of Arthur’s imagination and deep fears. Batman fans will also be surprised by the new additions. In the end, Joker: Folie à Deux takes a bold risk by continuing the story in an unexpected way. It falls short of the previous film, with a disappointing ending that should have been far more stunning and less baffling.
6.9/10
5th October 2024
Written by Peter Walkden
THANK YOU FOR VISITING
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