Venice, Italy – September 2024: After months of anticipation and feverish fan speculation, the sequel to 2019’s “Joker” has finally debuted at the Venice Film Festival. But despite the lofty expectations and a star-studded cast, Joker: Folie À Deux stumbles where its predecessor soared.
The film, directed once again by Todd Phillips and featuring Joaquin Phoenix in his reprisal of the titular role, takes an unexpected turn with its musical elements.
The addition of Lady Gaga to the cast initially seemed promising, but the film’s final product leaves much to be desired. In its attempt to be bold and innovative, Joker: Folie À Deux delivers a disjointed narrative that may alienate as many fans as it entertains.
A Stark Departure
When Joker was released in 2019, it took the world by storm, garnering praise for its gritty portrayal of Arthur Fleck, a mentally unstable man who transforms into Gotham’s infamous villain.
The film was a success both critically and commercially, winning the Golden Lion at the Venice Film Festival and earning Phoenix an Academy Award for Best Actor.
The dark psychological thriller struck a chord with audiences, many of whom appreciated the film’s deep exploration of themes such as mental illness, societal neglect, and the blurred lines between hero and villain.
Phillips, however, has taken a different approach for Folie À Deux. Instead of delivering another character-driven, psychological exploration of Arthur Fleck, the director ventures into unfamiliar territory by blending the story with musical elements.
In this follow-up, Arthur is no longer the lone, tragic figure from the first film. Instead, he is accompanied by Lady Gaga’s Harleen “Lee” Quinzel, who becomes his partner in crime – and in song.
Phillips’ decision to shift genres from a psychological thriller to a semi-jukebox musical was undoubtedly bold. Yet, while the concept of a musical infused with dark, twisted themes could have been an innovative cinematic experiment, the execution leaves much to be desired. Joker: Folie À Deux is plagued by a lack of coherence, and its musical numbers often feel shoehorned into the plot rather than serving as integral elements of the story.
A Troubled Beginning
The film opens with a scene reminiscent of classic Looney Tunes cartoons, offering a light-hearted and seemingly playful tone. This introduction quickly shifts into darker territory, as viewers are reintroduced to Arthur Fleck, now confined to Arkham Asylum.
He awaits trial for the murder of five people, and his days are marked by therapy sessions and medication. It’s here that Arthur crosses paths with Harleen Quinzel, a fellow inmate and arsonist who has an unsettling obsession with Arthur’s alter-ego, the Joker.
Gaga’s Harleen Quinzel, or “Lee” as she prefers to be called, is a stark contrast to Phoenix’s Arthur. She is bold, unafraid to manipulate those around her, and harbors a deep admiration for the Joker.
Despite her apparent confidence and control, it becomes clear that Lee, like Arthur, is deeply troubled. The duo’s relationship serves as the foundation for much of the film’s plot, with the two characters forming a twisted bond that alternates between love and manipulation.
The film explores the psychological connection between Arthur and Lee, suggesting that their bond may be the result of a shared delusion – the titular folie à deux, a rare psychiatric syndrome in which symptoms of a delusional belief are shared by two people.
However, this exploration of their shared madness feels underdeveloped, as the film’s narrative becomes bogged down by its musical elements and disjointed pacing.
Musical Numbers: A Bold Yet Flawed Gambit
One of the most anticipated aspects of Joker: Folie À Deux was the inclusion of musical numbers, a sharp departure from the tone of the first film. Unfortunately, the film’s attempts to merge dark psychological drama with musical theater feel jarring.
The musical sequences, while visually striking and well-choreographed, often disrupt the flow of the narrative and fail to advance the story in meaningful ways.
Lady Gaga, known for her powerful vocals and commanding stage presence, delivers strong performances during these musical numbers.
However, the songs themselves, which include renditions of Golden Age Hollywood hits such as “That’s Entertainment” and “I’ve Got the World on a String,” feel oddly out of place in the context of the film’s dark and gritty setting.
Instead of enhancing the emotional impact of the story, the musical numbers often come across as gimmicky and distracting.
The film’s use of these musical interludes may be an attempt to comment on the performative nature of Arthur and Lee’s relationship, as well as the blurred line between reality and fantasy in their minds.
However, this thematic exploration is overshadowed by the uneven execution of the musical elements. Rather than offering a fresh and innovative take on the Joker mythos, the film’s musical numbers feel like an unnecessary distraction from the core narrative.
Wasted Potential
One of the most frustrating aspects of Joker: Folie À Deux is its wasted potential. The film had the opportunity to explore the relationship between Arthur and Lee in greater depth, delving into the psychological complexities of their shared delusion.
Yet, much of this potential is squandered in favor of flashy musical sequences that add little to the overall story. Lady Gaga’s performance as Harleen Quinzel is one of the film’s highlights, but her character is ultimately underutilized.
While Quinzel’s infatuation with the Joker is central to her character in the comics and animated series, the film fails to fully explore her motivations or provide a satisfying arc for her character. Instead of being a co-lead, Gaga’s Harleen often feels like a supporting player in Arthur’s story, which is a disservice to both the character and the actress.
Joaquin Phoenix, once again, delivers a compelling performance as Arthur Fleck. His portrayal of the Joker is as unsettling and captivating as ever, but the script offers little in the way of new material for Phoenix to work with.
Much of Arthur’s arc in Folie À Deux feels like a rehash of the first film, with the added burden of carrying the film’s muddled tone and disjointed pacing.
A Confusing Message
One of the most perplexing aspects of Joker: Folie À Deux is its unclear message. The first film was criticized by some for its portrayal of Arthur as a misunderstood antihero, with some viewers even sympathizing with the character’s violent actions.
In Folie À Deux, Phillips seems to be aware of this criticism and attempts to subvert expectations by making Arthur a less sympathetic figure. However, this subversion is clumsy and muddled, leaving audiences unsure of what the film is trying to say.
The film’s commentary on toxic fan culture and the cult of personality is similarly underdeveloped. There are moments where the film seems to be critiquing the way in which society glorifies violent figures like the Joker, but these moments are fleeting and lack the depth needed to make a lasting impact.
Technical Merits: A Mixed Bag
Despite its narrative flaws, Joker: Folie À Deux boasts some impressive technical achievements. The film’s cinematography, helmed by Lawrence Sher, is visually stunning, with bold color palettes and striking compositions that enhance the surreal, dreamlike quality of the story.
The musical numbers, while narratively lacking, are beautifully shot and choreographed, with a theatrical flair that sets them apart from the rest of the film.
However, the film’s score, composed by Hildur Guðnadóttir, is underutilized. Guðnadóttir’s haunting and evocative score was one of the standout elements of the first Joker film, and her work in Folie À Deux is no less impressive.
Unfortunately, the decision to prioritize musical numbers over Guðnadóttir’s score feels like a missed opportunity, as her music could have provided the emotional depth that the film’s script sorely lacks.
A Divisive Reception
Joker: Folie À Deux has already sparked divisive reactions among critics and audiences alike.
Some have praised the film for its bold choices and willingness to subvert expectations, while others have criticized it for being a messy and incoherent follow-up to the original. The film’s reception at the Venice Film Festival was notably lukewarm, with some critics calling it a “misstep” and others labeling it a “bold experiment gone wrong.”
For fans of the first film, Folie À Deux may be a disappointment, as it fails to capture the same raw intensity and emotional depth that made Joker such a standout. However, there may be some who appreciate Phillips’ attempt to push the boundaries of what a Joker film can be, even if the execution falls short.
Conclusion: A Misfire in Madness
In the end, Joker: Folie À Deux is a film that aims high but ultimately misses the mark. While the idea of blending a psychological thriller with musical elements is intriguing on paper, the execution leaves much to be desired.
The film’s disjointed narrative, underdeveloped themes, and jarring tonal shifts prevent it from reaching the same heights as its predecessor.
Despite strong performances from Joaquin Phoenix and Lady Gaga, Folie À Deux is a muddled and often frustrating experience that fails to live up to its potential.
As the film continues its run on the festival circuit, it will be interesting to see how audiences and critics react to this bold yet flawed sequel.
Whether Joker: Folie À Deux will be remembered as an ambitious misfire or a misunderstood masterpiece remains to be seen.