Joker: folie à deux’s major misstep turns fans into the villains

Joker: folie à deux’s major misstep turns fans into the villains

A divisive return

Spoiler alert: This essay discusses key plot points of “Joker: Folie à Deux,” including the ending. It should be read after watching the film.

I had my reservations about Todd Phillips’ original “Joker” when it first hit theaters in 2019. Despite its award-winning turn and billion-dollar box office success, the film didn’t sit well with me. Its portrayal of Arthur Fleck, turning him into a symbol for various disenfranchised groups, stirred a controversy that was hard to overlook.

Fast forward five years, and Arthur Fleck is back in Joker: Folie à Deux. But this time, it feels like Phillips has turned his back on the audience that once celebrated him. Strangely, audiences seem to be reciprocating. According to several theater managers, people are either canceling their tickets or not showing up, and the negative reviews are partly to blame.

Who are the real villains?

The new film suggests an unsettling question: Who is the true villain in Joker: Folie à Deux? Surprisingly, it’s not Arthur Fleck. Instead, the movie aims its criticism at Fleck’s fanbase—the ones who want him to continue his chaotic reign. This sequel positions the fans themselves as the potential threats.

Lady Gaga’s Harley Quinn is a pivotal addition, portraying Joker’s equally deluded partner. The title, folie à deux, refers to a psychiatric condition involving shared delusions. Gaga’s character serves as a stark representation of the dangerous loyalty some fans exhibit toward problematic figures.

A departure from the expected sequel

Unlike typical Hollywood sequels that either expand the saga or amplify the original’s successful elements, Joker: Folie à Deux charts a different course. The sequel doesn’t continue the chaos that concluded the first movie. Instead, it delves deep into Arthur’s mental state, dominated by courtroom drama and musical interludes.

If the mayhem and violence of the first film excited you, you’ll be disappointed. Arthur Fleck commits no new murders here—except in fantasy sequences. Instead of embracing his Joker persona, Arthur ultimately rejects it, leading to an ending that many will find anticlimactic.

A tedious direction

More conservative in its approach, Joker: Folie à Deux largely unfolds within Arkham State Hospital and a courtroom. The pacing is slow and meandering, with musical numbers that serve as insights into Arthur’s psyche but ultimately weigh down the narrative.

The plot leans heavily on the cliché of the insanity defense, populated with familiar archetypes: the abusive guard (Brendan Gleeson), the smug district attorney (Harry Lawtey as Harvey Dent), and the conflicted defense attorney (Catherine Keener). This tired trope reduces the film to melodrama.

Phoenix and Gaga’s performance

Despite the film’s flaws, Joaquin Phoenix’s commitment to his role is undeniable. His portrayal of Arthur Fleck is as haunting and methodical as ever. Gaga, though given less screen time, delivers a compelling performance as Harley Quinn.

Yet, the focus on re-examining Arthur’s actions from the original film—rather than exploring new ground—feels redundant. If you relished Arthur’s rebellion against his tormentors in Joker, Folie à Deux forces you to face why you feel disappointed by its less violent conclusion.

A controversial re-examination

Phillips’ apparent shift in perspective raises questions about his motivations. Was he attempting to appease critics of the first film? If so, it seems to have backfired. As my colleague put it, Phillips’ fatal mistake might have been listening to his critics too closely, resulting in a film that caters to no one.

My own debates about the original Joker and its impact remain as contentious as ever. Its existence felt like a provocateur, making the world seem darker. However, time might soften that stance. The sequel doesn’t necessarily contribute to the world’s well-being, but it does provoke necessary discourse.

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Breaking down the controversy

Spoiler alert: This essay delves into key plot points of “Joker: Folie à Deux,” including the ending.

When Todd Phillips first introduced the world to his gritty take on the notorious Batman villain with Joker in 2019, it sparked a mixture of praise and discomfort. Despite its significant box office success and critical acclaim, the film didn’t resonate with everyone. Many were troubled by its dark themes and portrayal of Arthur Fleck.

Fast forward five years, and the sequel Joker: Folie à Deux emerges, sparking a new wave of controversy. This time, it seems Joker turns its scrutiny inward, casting a critical eye on its own audience. The provocative move appears to have backfired, with theater managers reporting ticket cancellations and a general sense of disillusionment among fans.

The real antagonists

At the heart of Joker: Folie à Deux lies an unsettling revelation: the real villains are not the characters on-screen, but the very fans who lionized Arthur Fleck. By examining this dynamic, the sequel flips the script, encouraging viewers to question their own fascinations with dark and chaotic figures.

Enter Lady Gaga as Harley Quinn, Arthur’s delusional partner. The term folie à deux, referring to a shared psychotic disorder, is a fitting title. Gaga’s portrayal captures the dangerous devotion that fans can exhibit towards problematic figures, making her character a powerful metaphor for this phenomenon.

A sequel defying expectations

In traditional Hollywood fashion, sequels often go one of two routes: expanding the narrative into a sprawling saga or rehashing the original’s success with amplified stakes. Joker: Folie à Deux boldly chooses neither. Instead, it takes an introspective turn, focusing on Arthur’s internal conflict rather than the external chaos of Gotham City.

Gone are the violent outbursts that characterized the first movie. Instead, the sequel immerses us in a courtroom drama, punctuated by surreal musical numbers. This narrative choice slows the film’s pace considerably and diverts from the expected trajectory of a direct sequel.

A deep dive into mental illness

Todd Phillips’ sequel takes a more thoughtful approach to Arthur Fleck’s psychological struggles. Exploring the nuances of conditions like schizophrenia and pseudobulbar affect (PBA), the film endeavors to root Arthur’s behavior in a broader context of trauma and societal neglect.

The use of musical interludes serves as a window into Arthur’s fractured mind. These sequences, while imaginative, often drag the pacing, challenging viewers to stay engaged with a storyline that is more cerebral than sensational.

The trial of Arthur Fleck

The plot of Joker: Folie à Deux leans heavily on the insanity defense, a trope often employed in court dramas. This familiar framework is populated with archetypal characters such as the abusive guard (Brendan Gleeson), the ambitious district attorney (Harry Lawtey as Harvey Dent), and the conflicted defense attorney (Catherine Keener).

While these elements may seem cliché, they are intended to strip away the glorification of Arthur’s actions, recasting them in a stark, unforgiving light. The film asks us to reconsider what we found compelling about Arthur Fleck in the first place.

Performances that anchor the story

Joaquin Phoenix’s return as Arthur Fleck is as committed and haunting as ever. His physical transformation and chilling portrayal anchor the film, reminding us why his performance in the original garnered an Oscar. Gaga, though featured less prominently, is a standout as Harley Quinn, embodying the dangerous allure of blind devotion.

However, the sequel’s focus on revisiting the consequences of Arthur’s actions from the first film may feel redundant to some viewers. Those who reveled in the character’s rebellion might find themselves questioning their own reactions by the movie’s end.

An artistic gamble

Phillips’ nuanced approach raises questions about the film’s intent. Was it an attempt to appease critics or to engage in meta-commentary on the nature of fandom? By crafting a sequel that defies audience expectations, Phillips invites viewers to examine their own complicity in the Joker’s mythos.

Critics of the original Joker often argued that it romanticized a dangerous figure. In contrast, Folie à Deux seems to challenge this perception, portraying Arthur not as a hero, but as a tragic figure caught in a cycle of violence and adulation.

A layered narrative

Phillips’ skill as a director is evident in his ability to create a layered narrative. The film’s tone is meta-ironic, blending satire with a confrontational style that keeps viewers guessing about the true message. This complexity might alienate some, but it speaks to a deliberate artistic choice.

A notable scene involves Arthur defending himself in court, adopting the Joker persona only to ultimately reject it. This moment crystallizes the central theme of the sequel: the rejection of toxic idolatry. The film underscores that the Joker’s legacy would outlast Arthur Fleck, critiquing the fans who see the Joker as a figure of rebellion.

A critical lens on fandom

Joker: Folie à Deux serves as a mirror to its audience. By turning the lens on the fans who elevated Arthur Fleck, Phillips critiques the very culture that often glorifies antiheroes. The film’s meta-commentary encourages viewers to question their own motivations and reactions to such polarizing figures.

Arthur’s final moments in the film, where he distances himself from the chaotic persona of the Joker, reflect a poignant commentary on the impact of fandom. The Joker’s mythology has grown beyond Arthur, underscoring the troubling allure that such figures hold.

Closing thoughts

Joker: Folie à Deux is a daring piece of cinema that challenges its audience to look beyond surface-level entertainment. By critiquing its own fans and exploring the psychological underpinnings of its protagonist, the film offers a complex and thought-provoking narrative.