The original Joker (2019) was a lightning rod for controversy, with its gritty, violent portrayal of Arthur Fleck (Phoenix) sparking intense debate among critics and audiences alike. While some hailed it as a bold, thought-provoking character study, others criticized the film for what they saw as a dangerous glorification of incel culture and violent alienation. The depiction of a socially marginalized, mentally unstable man who turns to violence to reclaim his sense of power raised concerns that it might resonate with real-world individuals feeling similarly disenfranchised. Many critics feared that Arthur’s transformation into the Joker could be interpreted as a justification or glamorization of violence, particularly in a cultural climate fraught with rising extremism and mass shootings. Director Todd Phillips and Joaquin Phoenix defended the film, arguing that Joker was a reflection of societal breakdown rather than an endorsement of any ideology. However, the film’s ambiguous morality, combined with its realistic depiction of psychological decline, left many feeling unsettled, further fueling its divisive legacy.
Five years on, Joaquin Phoenix once again delivers a tour-de-force performance, intensifying the psychological depth he brought to Arthur Fleck in the original. His haunting, raw portrayal, further delving into the chaos of the character’s fractured mind, is at once both gripping and horrifying. So too are the violations he endures throughout his incarceration as he awaits his fate in court. You may wish to resist the obvious attempts to brew up sympathy for Fleck but Phillip’s choices from the director’s chair, though heavy-handed at times, don’t make it easy. Gaga, taking on the role of Harley Quinn, brings a magnetic presence to the screen, mixing vulnerability and volatility in a way that mirrors Phoenix’s own unhinged performance. Her chemistry with Phoenix is electric, capturing the dangerous allure of their twisted relationship. Brendan Gleeson, meanwhile, adds gravitas to the film. He grounds the more flamboyant performances around him, lending a commanding presence that enriches the film’s darker, more dramatic moments. Together, these performances form the heart of Folie à Deux and despite what you may feel about other aspects of the film, the acting showcase by this cast of heavyweights is undeniable.
The bold decision to make Joker: Folie à Deux a ‘musical’ has sparked significant debate among critics, with many intrigued by the contrast between the film’s dark subject matter and its unconventional format. Phillips leans into the chaotic energy of Arthur Fleck’s mental unraveling, using musical numbers as a narrative tool to blur the lines between reality and delusion. This clear departure from traditional comic-book storytelling can be seen as a cocksure, cynical choice from Phillips and honestly, that could very well be the case. Either way, it amplifies the surreal, fractured nature of Arthur and Harley’s relationship, adding a layer of theatricality that enhances their descent into madness. Occasionally, these tonal shifts can be a little jarring, distracting viewers from the gritty realism that made the first film so impactful. It has to be said however, the musical approach unquestionably makes Folie à Deux a unique cinematic experience, blending genre elements in a way that feels both daring and divisive.
Verdict: Flawed as it is, Joker: Folie a Deux takes us through grounded realism, to colourful musical to intense courtroom drama and for better or worse, is not the film anyone expected. But with a bewitching audio-visual palette that connects it inextricably to its predecessor, as well as some bold yet conceivable narrative choices, it ultimately feels more like a natural progression than a cynical sequel, though elements of the latter do creep in.