Joker: Folie à Deux (2024) Review
In 2019, Todd Phillips’ ‘Joker’ took the world by storm. A moody origin story for the infamous Batman villain- as well as a powerful examination of mental illness- the film grossed over a billion dollars at the box office, and is still the second highest grossing R-rated film of all time. Superbly acted and beautifully shot, the drama- inspired by the films of Martin Scorsese, most evidently ‘The King of Comedy’ and ‘Taxi Driver’- received near unanimous praise, from viewers and critics alike.
However, it was not without some critical controversy. Some writers, like Richard Lawson of Vanity Fair, suggested the film was overly sympathetic “towards white men who commit heinous crimes.” Others, such as Jim Geraghty of National Review, felt that it would encourage “America’s angry, paranoid, emotionally unstable young men” to commit crimes like the ones depicted in Phillip’s narrative.
Despite this, most concede that the film acted as a poignant, cautionary tale; showing how a societal disregard for the vulnerable can create someone as dangerous as Arthur Fleck, aka: Joker. In this way, it was an important film, that actually had something to say (which the majority of Phillip’s previous directorial features largely hadn’t). This made it something of a rarity in the landscape of comic-book adaptations- as did the fact that Phillips never intended to follow it up with a sequel.
A rarity and a gamble, for studios want a sure thing. Indeed, it must have been incredibly difficult to get Warner Brothers to pony up the dough for a dark, stand-alone comic book adaptation in the age of the Marvel movie; where certainty is measured by quips, meta-humour and familiarity. That Phillips got ‘Joker’ made- combined with its whirlwind success- seemed to be a harbinger of sorts; heralding that smaller stories could be just as affecting and as successful as the juggernaut Marvel franchise; proving that not everything actually needs a sequel.
However, in Hollywood need is dictated by profitability; and if anything makes over one billion at the box office, a sequel will surely follow whether viewers, or the filmmakers, necessarily feels one is really warranted.
Hence ‘Joker: Folie à Deux,’ which, if the original was a gamble, is like a game of Russian Roulette with half the chambers loaded: a very risky business indeed. Whereas the first ‘Joker’ was a dark psychodrama following Arthur Fleck on his descent into madness, ‘Folie à Deux’ is a musical, detailing Fleck’s struggles with his dual identity in the run up to his trial for murder, alongside his number one fan, fellow inmate and love interest Harleen ‘Lee’ Quinzel.
Off the bat, credit must be given to Phillips for taking such a risk and going in a new direction, genre-wise. He and fellow screenwriter Scott Silver could have easily rested on their laurels, simply remaking the first film all over again, knowing it was a blueprint for success (as has been happening with the Marvel movies since- what now feels like- the dawn of time). That they decided to make a musical of all things takes genuine guts and, while perhaps foolhardy, must be applauded. It’s a massive swing, that not many directors would take.
A massive swing that doesn’t exactly result in a hit. The first film had an engaging, tightly plotted narrative, with a compelling central character whose story arc felt organic and real. The sequel feels scattershot in comparison, as if Phillips and Silver weren’t sure what to do with Fleck and Quinzel, nor in which direction their story should head. The musical numbers within- and the runtime seems to be at least 50% song and dance- are routinely strong and emotionally resonant, though often feel like padding.
Phillips has stated that Fleck sings when he can’t find “the words to say what he wants to say,” though, to a cynical viewer, it seems that Fleck sings because Phillips and Silver realized their narrative was too slim to justify a runtime of two hours and eighteen minutes. Indeed, much of proceedings are centred on characters recounting events from the first film, or consist of direct flashbacks.
In addition, the idea- hastily introduced at a late stage- that Fleck may not be comfortable being turned into an icon at the expense of his own personality is shoehorned into the cigarette-paper-thin veneer of a plot. This feels at odds with his established character as a whole and, especially, the ending of the first film. Furthermore, the trial sequence- bar an extended scene featuring Gary Puddles, the diminutive clown from the original- is surprisingly dull and forgettable.
Having said that, the doomed central relationship between Fleck and Lee is a genuinely affecting one. There have been on screen relationships between arguably insane characters before- Mickey and Mallory in ‘Natural Born Killers’ and Lula and Sailor in ‘Wild At Heart’ come to mind- but rarely are they as grounded and as tender as Fleck and Lee’s. Had the narrative around them been stronger, or if he and Silver had been more assured with regard to the film’s message; Phillips would have had a great work on his hands.
Unfortunately, as it is, ‘Folie à Deux’ lacks enough substance to make its own mark, outside the shadow of its predecessor. This is not to say, however, that it doesn’t have anything going for it. As mentioned above, the musical numbers are heartbreakingly performed and expertly choreographed. A sequence involving a Sonny & Cher-style variety-show is a stand out, as well as a devastating moment when Fleck recites ‘Ne me Quitte pas’ into a courthouse phone.
Additionally, Mark Friedberg’s production design atmospherically creates a seedy, cold Gotham City, where hope is a rare commodity; and love even rarer. Moreover, Lawrence Sher’s striking cinematography recalls the first film, though his use of stylizations and colour makes ‘Folie à Deux’ a distinct beast; more like the films of Gene Kelly than Martin Scorsese (that Sher has mentioned Francis Ford Coppola’s ill-fated musical ‘One from the Heart’ as inspiration is unsurprising, though also bitterly ironic).
Furthermore, the performances are all incredible. Joaquin Phoenix once again powerfully portrays the complexities of a damaged mind, and is electrifying. Intense, nuanced and sadly believable, he carries the film squarely on his shoulders. Lady Gaga does similarly fine work opposite him as Lee, credibly bringing to life a borderline psychotic with aplomb. The madness in her eyes is disconcerting, and she has rarely been better on film. She and Phoenix work well together, performing the various musical numbers masterfully, whether together or apart.
In addition, Brendan Gleeson does typically sterling work as the sadistic prison guard Jackie Sullivan; elevating what many other actors would have played as a straight villain into one of the film’s more interesting characters. Catherine Keener impresses greatly as the film’s only real ‘good’ character, Fleck’s lawyer Maryanne Stewart, while Harry Lawtey brings the smug DA Harvey Dent to life well; even if the character is as generic as cardboard.
Moreover, Leigh Gill’s excellent, impassioned performance as Gary Puddles in the film’s best scene lingers long after the credits have rolled, while Zazie Beetz’s strong work as Fleck’s original love interest Sophie is similarly impressive. Both deserved more screen time. Contrastly, although Steve Coogan has made his bread-and-butter playing smarmy characters, from Alan Partridge to Tony Wilson, his stereotypical American accent as journalist Paddy Meyers is jarring; though he’s still effective.
In conclusion, Todd Phillip’s ‘Joker: Folie à Deux’ could potentially have been a great film, were it not for its weak narrative and familiar plotting. Where 2019’s ‘Joker’ ran, it crawls, often straying into the drab territory of the underwhelming. Despite lush cinematography and terrific performances, it comes as a bitter let-down. Although the songs are admittedly well-performed, they fundamentally feel like filler in a film that doesn’t know what it wants to be. It is neither as clever nor as controversial as its predecessor and- in comparison, sadly- decidedly disappointing. In the end, although it took guts, why Phillips made the film as a musical is not a folie à deux, rather a folie d'un seul- which makes the joke on the audience.