Following the phenomenal success of “Joker”, which garnered two Oscars and a billion-dollar box office gross, director Todd Phillips could have easily churned out a predictable sequel to the mind-bending origin story of the iconic villain. However, he instead chose a bold path, returning to the Venice Film Festival, where his previous film triumphed with the Golden Lion, with “Joker: Folie à Deux”, a jarring musical extravaganza pairing Joaquin Phoenix’s tormented Arthur Fleck with Lady Gaga’s captivating and unpredictable Harley Quinn. While this bold move is commendable, the film ultimately falls short of its ambitious goals.
The film kicks off with a captivating, cartoon-style opening sequence, a blood-soaked Looney Tunes romp showcasing an animated Arthur battling his own shadow. The shadow, seemingly with a mind of its own, wreaks havoc and then blames Arthur for its misdeeds, setting the stage for the film’s central theme: does Arthur suffer from multiple personality disorder, with the Joker being the destructive alter ego, or are they one and the same?
We rejoin Arthur in Arkham Asylum, where he was left at the end of the first “Joker”. He’s awakened by a group of guards led by an irritable Brendan Gleeson, and during his transfer for a meeting with his lawyer, he encounters a group of patients singing. Among them is Lee, played by Lady Gaga, who immediately recognizes Arthur. Their interaction sets the stage for a shift in Arthur’s world, as his surroundings begin to take on a Technicolor hue, reminiscent of “The Umbrellas of Cherbourg”.
Arthur joins the singing group and develops a connection with Lee. They bond over their shared experiences of trauma and isolation, and Arthur falls deeply in love with her. The film’s numerous musical sequences are a highlight, showcasing Arthur’s raw emotion through songs like “For Once in My Life” and a captivating waltz during an escape attempt. These sequences, while visually stunning and emotionally charged, are often dreamlike and ambiguous, blurring the lines between reality and Arthur’s internal world.
Lee is inexplicably released from the asylum, and Arthur stands trial for his crimes. The film utilizes music throughout the trial, including a courtroom musical number that takes a violent turn. The events that unfold, including a brutal attack in the asylum, a giant explosion, and encounters with anarchic Joker followers, feel rushed and disjointed, contributing to a sense of narrative unease.
While the film boasts captivating performances from Phoenix and Gaga, and the musical sequences are undeniably exhilarating, the narrative ultimately stumbles. The pacing is erratic, and the character development, particularly for Gaga’s Lee, feels underdeveloped. The film leaves several plot holes unanswered, with twists that feel convenient and an anticlimactic ending that fails to deliver a satisfying conclusion.
Despite these flaws, “Joker: Folie à Deux” offers moments of brilliance. Phoenix’s performance is as compelling as ever, showcasing Arthur’s vulnerability and his descent into madness. Gaga’s presence is undeniably magnetic, but she’s given surprisingly little space to breathe. While the film doesn’t reach the same heights as its predecessor, it remains a visually striking and audacious exploration of mental illness and the complexities of human emotion. Ultimately, however, “Joker: Folie à Deux” is a film that leaves you wanting more, both in terms of narrative depth and emotional resolution.
