There is an aura of Shakespeare emanating from *Joker: Folie à Deux*, the highly anticipated sequel to Todd Phillips’ critically acclaimed *Joker* (2019). Featuring Joaquin Phoenix reprising his role as Arthur Fleck, a party clown and aspiring stand-up comedian, the character now finds himself institutionalized at Arkham State Hospital, awaiting trial for his five murders, including the infamous killing of talk show host Murray Franklin (Robert De Niro) on national television. Arthur Fleck distinctly channels a Hamlet-esque vibe, akin to Shakespeare’s contemplative Prince of Denmark.
Much like the indecisive Hamlet, Fleck is profoundly betrayed by his mother, propelling him into a frenzied spree of death and havoc. Though Arthur lacks Hamlet’s inky garb and ghost-haunted ramparts of Elsinore, his motley colors and vivid carmine smile offer ample soliloquies with his fragmented selves in the multiverse of his mind.
It’s been two years since the nightmarish chain of events that led to Arthur’s incarceration at Arkham. His Joker persona, a symbol of societal outrage, drove the disenfranchised to the streets, protesting for justice. Enter Harvey Dent (Harry Lawtey), the ambitious newly elected Assistant District Attorney set on ensuring Arthur stands trial for his actions. However, Dent’s motives aren’t purely altruistic as the live telecast of this sensational trial promises a significant boost to his public profile.
In the hospital, Arthur leads a dual existence, existing in worlds of his own making. He’s the model inmate, indulging guard Jackie Sullivan’s (Brendan Gleeson) taunts while interacting with other inmates, including a young man (Jacob Lofland) strangely fixated on Arkham’s most infamous patient. During a trip to meet his stressed-out lawyer, Maryanne Stewart (Catherine Keener), Arthur walks past a music therapy class and instantly connects with Lee (Lady Gaga), whose presence sparks a significant turning point in the narrative.
Lee’s backstory reveals painful parallels to Arthur’s. Raised in the same neighborhood and mistreated by her mother, who ultimately committed her to Arkham for arson, Lee immediately resonates with Arthur. Her sense of kinship with him deepens as the trial unfolds, leading her to orchestrate a spectacular escape from Arkham and mobilize public support for Arthur.
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As the courtroom drama intensifies, Arthur encounters phantasms from his past. These include Sophie Dumond (Zazie Beetz), his illusory romantic interest, clown co-worker Gary (Leigh Gill) whom Arthur was kind to, and his former social worker (Sharon Washington). These spectral figures add psychological depth to the proceedings, blending reality and delusion in a manner reminiscent of Arthur’s mind’s fractured state.
Initially conceived as a standalone film by director Todd Phillips, turning the sequel into a musical—as suggested by Phoenix—is a masterstroke. The film’s introduction includes a dazzling animated sequence, setting a new artistic direction while retaining the existential dread, isolation, and social commentary that defined *Joker*. The musical segments, luscious and jazzy, curated by Oscar-winning composer Hildur Guðnadóttir, offer a feast for the ears and eyes. For audiences accustomed to grand theatrical song-and-dance numbers, *Folie à Deux*’s visually stunning, reimagined jukebox routines provide an all-encompassing cinematic experience.
Phoenix’s portrayal of Arthur remains both haunting and mesmerizing. His skeletal appearance, with protruding spine and shoulder bones, exudes a skeletal, almost ethereal quality that is riveting. It’s impossible to look away from his tormented visage—his eyes glistening with chaos and rare compassion, and his mouth trembling in exaggerated expressions.
In contrast, Lady Gaga’s Lee is oddly subdued, particularly when compared to Margot Robbie’s effervescent Harley Quinn. Yet, Gaga effectively complements Phoenix’s intensity, contributing to the film’s overall balance.
Though *Joker: Folie à Deux* lacks the tightly woven plot and multi-layered narrative complexity of its predecessor, with occasional slackness in its second half and a somewhat thin plotline, watching Phoenix’s masterful performance through the lens of cinematographer Lawrence Sher’s patient and deliberate takes is a joy in itself.
*Joker: Folie à Deux*, a rich amalgam of psychological drama, societal critique, and musical spectacle, is currently playing in theatres, promising a unique cinematic journey through the labyrinth of Arthur Fleck’s psyche.
Published – October 02, 2024 05:50 pm IST
World cinema
