Is Todd Phillips playing a practical joke with the sequel to his critically divisive yet remarkably successful Oscar-winning film from 2019? In a bold twist on the original narrative, Phillips takes a surprising turn away from the familiar formula. The dark, gritty essence of “Joker,” which chronicled Arthur Fleck’s descent into madness and murder, gives way to a two-hour-and-twenty-minute exploration of a musical romance intertwined with courtroom drama. Adding to this unique concoction is a Looney Tunes-style animated prologue by director Sylvain Chomet, famed for “The Triplets of Belleville.” Rather than echoing influences from Martin Scorsese’s “The King of Comedy,” “Joker: Folie à Deux” seeks inspiration from musicals like Francis Ford Coppola’s “One From the Heart” and Scorsese’s own “New York, New York” – both of which famously flopped at the box office.
This creative direction is both audacious and potentially commercially risky, as the comic book musical genre remains largely uncharted for good reason. It’s rare to see a film where one of the lead actors struggles to sing, and Phoenix’s attempt as the Joker is often strained and difficult to listen to. While the musical aspect may not resonate with all fans of the original, the real concern lies deeper. Classic songs undergo jarring reinterpretations, but the idea of a musical reflecting a fractured psyche occasionally finds success. Unfortunately, despite this bold stylistic shift, the story comes across as somewhat stale.
The narrative continues to be told through the eyes of Joker/Arthur Fleck, featuring the familiar themes of self-pity and grievances against society. Although the title implies a dual narrative enriched by the character of Lee Quinzel, portrayed by Lady Gaga, her role feels secondary and underdeveloped. Despite limited screen time, Gaga’s undeniable charisma brings her scenes to life, turning her every line into a moment to remember.
Taking place shortly after the first film, “Folie à Deux” depicts Arthur Fleck’s time in Arkham Asylum for the Criminally Insane. Time has passed, and Joker has shifted from a counter-culture anti-hero to a cultural icon, leaving behind deep psychological scars on Gotham. An exploitative TV movie recounting his life and crimes sets the stage, featuring an animated opening titled “Me and My Shadow” that recaps the infamous Murray Franklin Show while introducing a key theme: the ‘deux’ in the title refers as much to the internal battle between Arthur and Joker as it does to the romance between Joker and Lee.
As the courtroom drama unfolds, Arthur’s attorney, Maryanne Stewart, played by Catherine Keener, attempts to frame him as a victim of childhood trauma, arguing that his alter ego, Joker, has overtaken his free will. Meanwhile, Lee, an ardent admirer of Joker, shows little interest in Arthur’s sob story, illustrating the idolization that Joker commands as the clown prince of chaos.
Arthur’s turmoil, previously a background theme, now permeates every frame. The asylum’s color palette radiates despair, and Phoenix’s portrayal of the character resembles someone perpetually trapped in anguish, reminiscent of a Bruegel painting. His spasming, retching laugh adds yet another layer of pain to his performance.
Everything shifts when Arthur meets fellow inmate Lee during a music therapy session. The visuals explode with vibrant colors, embodying the Joker’s signature palette of saffron yellows, blood reds, and teal blues. In this encounter, Arthur reconnects with the music buried within him, albeit filtered through the twisted lens of the Joker.
The musical moments, influenced by classic black-and-white spectacles and flashy Vegas performances, emerge as the film’s highlights, especially those featuring Gaga. Her portrayal of Lee is not just captivatingly duplicitous; she also delivers powerful musical performances, making “That’s Entertainment” a standout moment. However, the film tends to lag, particularly during courtroom scenes where Lee’s role diminishes, and the overly indulgent narrative begins to meander. Arthur choosing to represent himself adds new dimensions to his character: the comedian who can’t make you laugh, the singer who can’t hold a tune, and now, an amateur lawyer who navigates the legal system without a clue.
