'Joker' made an indelible mark when it hit cinemas in 2019. It struck a nerve – sparking discussions about mental health and society's perception of those who struggle with it.
Joaquin Phoenix's portrayal of this well-known DC character has become somewhat iconic. Now, Arthur Fleck is back – two years after the events of the first film, for a sequel which matches its predecessor in pace and aesthetic, but veers into fresh lanes elsewhere, introducing new characters and a bold new direction.
The most notable new entrant to this story is Lady Gaga as Lee Quinzel. More on her soon.
First of all: is 'Joker: Folie à Deux' a musical? Well. . . If you define a musical, like Merriam-Webster, as a film (or stage show) 'consisting of musical numbers and dialogue based on a unifying plot', then yes, it is. . . But there's something about the way in which music embeds itself into 'Folie à Deux' which, at times, doesn't make it feel like a musical at all. Most of the tracks here begin – and are carried out – in ways that feel much more realistic to the everyday human experience than your average musical.
Croaky, less-than-perfect a cappella kicks off a lot of the songs, grounding them in heavier realism. Musicals are sometimes criticised for the way performers will suddenly burst into song – that does happen here on occasion, but there's often a reason for it. While music sequences are beautifully shot and performed by both Phoenix and Gaga, there's an opportunity for the twisted real world of 'Joker' to warp, distort and disturb these moments to a point where they feel delightfully terrifying. . . Which is never really taken.
Thankfully, Hildur Guðnadóttir brings this energy as she returns to deliver the film's score – it's brooding, menacing, and violin-driven. . . Further carrying the atmosphere of the first 'Joker' into the second entry.
Joaquin Phoenix is an unreal talent. He brings all of the complexity of Arthur from the first film to its sequel – the understated scenes have notes of true emotion at some times and an eerie darkness brewing at others, while the larger scenes where Joker emerges are appropriately chaotic and unhinged.
Lady Gaga enters the universe, as an unsettling Lee Quinzel. There's something inside her which she carries throughout 'Folie à Deux', a complexity which makes her fantastic to watch. She's able to tell a story with just a look, and her talent for this in particular is used well: piercing eyes and an unwavering gaze upon Arthur make her presence felt in any scene – even when she's in the background. The more raw, 'Lee' singing moments are great, and you can tell she put effort into letting the technical elements of vocal performance take a back seat in favour of the character's imperfections.
She's on screen for a good enough amount of time. Her character is not as central as Arthur, but the time she spends in the film feels appropriate for the role she plays in the story as it's presented, and her relationship to Arthur overall. . . However in an ideal world, Lee could've been given an entirely separate storyline and provided viewers with a deeper understanding of her psyche.
Brendan Gleeson's Jackie Sullivan is another fantastic addition to the 'Joker' universe, playing a guard at Arkham State Hospital. He's rough around the edges and a character you feel you need to keep your eye on. Harry Lawtey's Harvey Dent meanwhile, planning to bring Arthur to justice as district attorney, feels like he's trying to be menacing and intimidating, but it just doesn't translate here.
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One of the first 'Joker''s strengths was its ability to have you constantly on edge. . . Clenching your jaw as you waited for Arthur's next mishap. This unease certainly remains to a decent degree in 'Folie à Deux' – the slow pace makes it an uncomfortable watch at times, and there are some seriously disturbing scenes. Plus, props must be given to Director Todd Phillips and Cinematographer Lawrence Sher – these men know what they're doing, and if it's a stunning film you're after, in which almost every shot could be captured and framed for a museum, 'Folie à Deux' fits the bill.
'Joker: Folie à Deux' is a good film. It refuses to stay in one box, making it thematically colourful and unable to anticipate. The performances, for the most part, are impressive. It's astounding to look at. The music is stunning. So with all this said, what's the problem? Well, there are too many 'could have's. Refusing to stay in one box means 'Joker' spreads itself too thin at times and could have tried to zero in primarily on a certain element, instead of trying to pander to fans of musicals AND horror in equal measure. Lady Gaga's Lee (while making the absolute most of her time on screen) could have been more fleshed out. The music could have been more bizarre and disturbing.
All this said, what is presented is an enjoyable two-and-a-bit hours. There are some interesting surprises and a pretty compelling final act which is sure to get people talking.
With practically faultless direction and cinematography from Todd Phillips and Lawrence Sher, and a match made in hell – though perhaps not fully fleshed out – between Joaquin Phoenix and Lady Gaga, ‘Joker: Folie à Deux’ finds its rhythm in its unpredictability and a bold new direction – while staying true enough to its predecessor to feel like a natural continuation. This film is going to divide audiences due to its broad genre exploration – however, an open mind and an appreciation for impeccable cinematography will almost guarantee a good time here.
★★★☆☆ 1/2.
