Joker (2 Hrs 2 Min)

Directed by Todd Phillips

A chilling 4.5 out of 5 stars

Throughout the history of pop culture, we’ve seen many a different alien, hero, robot, and magic pocket monster, take pedestals of great delight and influence, among a sea of thrilling characters and worlds. But in the mix, there are some figures that just stand out, and a hold a power like few others do. The Joker, being just one of these, has certainly come to be one of the most recognizable figures in sight (in pop culture, of course), appearing in numerous eerie comics, film, TV, and games. The cackling Clown Prince of Crime plays the most infamous of archnemeses to the the equally iconic Batman, in the DC Universe, but, has also become a premier symbol of the (often praised) antihero to countless fans across the globe (in fact, I'm dressing up as the newest Joker for Halloween/local comic-con later this month).

And actors too share a fascination with the villainous chuckler, holding a desire to delve into his dark and witty psyche on the big screen (maybe in the the same way that a classically trained actor yearns after the titular role of Prince Hamlet). Some have changed the way we look at the character, with astounding performances from Heath Ledger, Jack Nicholson, and Mark Hamill, totally reshaping view of his entire immoral being, while others talents, such as Jared Leto or Cesar Romero have been more forgettable and far less potent in their tattooed or mustachioed portrayals.

Though most recently graced with this incredibly substantial and intriguing role is the immensely talented Joaquin Phoenix (Gladiator, Walk the Line, Her). The seasoned 44-year old actor, who started out in the film industry at the ripe old age of eight, has been widely anticipated in his role as the villain, with a variety of remarkable and riveting trailers promoting the film beautifully for several months now. And to further confirm the excitement of comic fans, as well as connoisseurs of film (who’s say that they aren’t the same?), everywhere was last month’s eventful rewarding of the Golden Lion Award for Best Film to director Todd Phillips (The Hangover Trilogy, Old School) at the 76th Venice Film Festival. Anyway, with all of that now said, almost a month behind this film’s release date (yikes! Business) , and lots to cover, let’s commence our look at this thrilling movie with a story summary.

We begin this story in a familiar, but slightly different, setting of Gotham City, as we go back to the year of 1981. In the midst of a garbage strike, the filthy town’s crime and corruption rate are on the swift rise, against politicians' failed attempts to douse these dangerous issues on the people’s behalf. On the lower segment of the pole is Arthur Fleck (played by Joaquin Phoenix), a troubled, middle-aged man who works as a party clown. The silly outfit, the smiling and dancing are all part of the act for him, while his laughing proves a more uncontrollable part of himself, due to a lifelong condition that causes subjects to sporadically burst into hard fits of hoots and howls. This affliction serves him unwell, as he is seen by the crowds as a nut, but is otherwise invisible as a person. Even when attending regulated therapy sessions, following a long history of established mental illness, and a more recent, early discharge from a ward, he still doesn’t feel he’s really heard. The only person he feels he’s understood by is his dear mother, Penny (Frances Conroy), whom he still lives with, and cares for alone.

A melancholic intro to this character indeed, but also a hopeful one, as we are shown Arthur's child-like passion to pursue a career in stand-up comedy, following in the footsteps of his comic idol, and acclaimed talkshow host, Murray Franklin (played by Robert De Niro, in a slight nod to his tense funnyman role in Martin Scorsese’s 1982 The King of Comedy). He’s greasing up his wheels, preparing to launch onto the stage with a happy face, and, as his mother persistently tells him, “bring laughter and joy to the world”. For the first time in years, things are starting shine a little differently in his life; a due turn for the better. But as criminal tensions rise in Gotham, plaguing everything it seems from the root up (people, business, politics, etc.), we stand to the wayside as a challenged Arthur navigates his life and work, amidst frequent humiliation, rampant blurs between fantasy and reality, a budding romance, and dark mental barriers stemming from past trauma, that seem to ever shield him from the possibility of being able to laugh, and be happy at once. And through this journey of ups, but mostly downs, Arthur slowly builds for himself a new identity, from the hurting remains of a fractured childhood, attempts at spreading love and kindness around him, as well as an unfeigned perspective from the bottom of the world (giving our two worlds—Gotham and Present Day Earth, I guess— an unfortunate and uncanny link. More below). All of these aspects interconnect to conceive an image that Arthur never knew he had inside himself, but is one that he now wants to make sure world knows. This is Joker.

Let me take a figurative second to decide where to start! (Well) The representation of poverty and crime was told in such a gritty and authentic way (certainly taking some inspiration from the rougher 80s era of New York), and the living state of many people, all of whom attempt to climb life’s ladder, was told in a very tragic manner. The people of Gotham can slave and hope for a greater life, but there is a rather concrete notion that they may never ascend to anything higher, no matter the scale of their efforts. Not to stay on a depressing note (though it will be a recurring theme throughout this review, accordingly so), but it is sad reality that, mentioned earlier, does interlace and on some level with the society of America (maybe the world, I couldn’t really say), facing us with some less severe, but equally hard truths. Though we don't have mass crime in occurrence, we do have corrupt systems of law and government in our own ways, with many in positions of power who emphasize, but do not prioritize the help and aiding of lower classes, and those faced a disadvantage in life. I’ll probably stop there (even though I vaguely advertised a bigger elaboration), because I do not want to be talking out of places that have no business in intelligent conversation, you know? Anyway, the production is gorgeous in all of its sterling filth and garbage, and the use of CGI, which I know there’s is some, is very obscure and subtle to the eye. Just beautiful.

This leads me to another fantastic ingredient of the film: cinematography. Director of Photography, Lawrence Sher (The Hangover Trilogy, The Dictator, Godzilla: King of Monsters), spoke of his and Phillips’ process when developing the film’s unique and moody visual tone (of which we get a small glimpse of in these stills). In an interview with The Hollywood Reporter’s podcast Behind the Screen, the two long-time collaborators talked about how their initial discussions, and how they the desire to utilize their [childhood} connections to the great films of the 70s and 80s, as well as the overall atmosphere these works inhabit; something that was different from anything before its time, and something that remains a unique and enriching era of filmmaking to visit to this day. They both revisited the most memorable of these early influences, with movies such as Scorsese’s Taxi Driver (1976), Serpico (1973), and The Taking of Pelham One Two Three (1974), guiding the emerging spirit, and the voice of the movie. Beautiful color is used in a crisp, shaded capacity; the soft resolution acting completely independent of some pretty horrific events and transformations throughout. Through their mindful camera work, we are given a very intimate perspective of Arthur Fleck as an individual, and what makes up his wandering thoughts and dreams and goals, all while trudging through life as an unseen.

The soundtrack is also something that really took hold of my attention. While the characters’ visual and mental existences grab the main notice of the viewer, music, while still heard in relation to the story, lends an immense emotional and narrative impact, some of which is even beyond our greatest guessing. For this film, composer Hildur Guðnadóttir (Arrival, Chernobyl, Sicario: Day of the Soldado) was brought in by an enthused Phillips, for her omnipresent and tragically beautiful [musical] voice. The 37-year old Icelandic musician and cellist held a special place in her heart for the tragedy that is Arthur Fleck’s story, and, thus, made it her mission to locate and connect with the distress call of the character. In an interview with NPR, Guðnadóttir spoke of her process in finding a theme for the film that would fit into the discussion of Phoenix’s character’s genuine inner desire and strivance to be kind to others amidst a growing madness and anger, stating that in her music, she reflected on and navigated the darkness in herself, often through her versed instrument: the cello. She sat down with Arthur in mind, and began to play around and down different paths and sounds, until she finally found something that resonated, both physically and musically with the tone of the work as a whole.

But with one scene in particular (a scene in a bathroom where Arthur has just experienced a turn of life changing events, pivotal to his journey. Listen to the ominous piece here), the composer had a very interesting story for the coupled piece indeed. "The very beginning piece, you almost only hear the cello,” Guðnadóttir described the song. "As we get further into the movie, the orchestra gets louder and louder, and then it kind of suffocates the cello. It's almost like the empathy that we have for his character is led by the cello, and then his darker side, his inner turmoil, is the orchestra [which is] almost inaudible, and then just slowly takes over as we get further in.”

The music is something Arthur feels inside of himself. This inner melody engenders an essential need to express that passion and experience to others, but to no avail in his efforts. Both a figurative and literal representation of this parallel is Fleck’s love of dance. Rarely does he ever share this recreation with others, but it is through this practice that he can find a sense of clarification, calm, and meaning in the craziness of everything. And as we progress within the story, the physical manifestation of this song continues wash over like waves of rising magnitude upon a random beach. A new confidence can be found in each ardent swing and step of his thin form, incrementally (re)introducing us to the villainous and irreverent alter ego Arthur wholly adopts, all of this serving as another potent piece in the flow of this story, and an incremental intro to

Reigning it in, this is small glimpse into the fascinating language of music, and of those who hold the ability to interpret some flow or story within and translate that to others (in regards to the composer). And that could go for any passion in the creative field, really; music; writing; costume and set design; even makeup. It all holds a meaning (or at least much of it should), and I greatly respect and admire those who consider the importance of those types of details. Super cool stuff!

Now, Joaquin Phoenix has played a variety of outstanding and sundry roles; everything it seems, from a cruel Roman Emperor, to a passionate writer of others’ personal letters, to even Jesus Christ (many of his characters in film carry a mentally ill or disturbed life and mindset, which placed Phoenix at somewhat of an advantage when approaching the challenging person of Fleck). An illustrious career, filled with numerous stretching and explorations of the dramatic field, indeed, Phoenix carrying an equally compelling personality to match, being rather “notorious" for a history of strange, sometimes rough, but always enjoyable interviews.

But, before digging in, an interesting (and now, a little ironic) fact view that Phoenix advertised over the years was his reluctance to being cast in any blockbuster/superhero movies. He has spoken of not really feeling the trajectory of the characters or storylines would be fulfilling enough work, alongside his distaste for 'multi-film commitments' (responding to rumors of his consideration for the role of Doctor Strange in the 2016 Marvel origin movie. Read more here). Well, luckily, and rightly so, he found a great appeal and depth in Todd Phillips’ unique vision of portraying the iconic villain’s humanity (though he was rather hesitant when first approached with the opportunity), behind the grim smile of the character, and gave us this wonderful and tragic visceral experience.

Phoenix plays the especial role of both the protagonist and antagonist in this story, in one figure of focus— Arthur Fleck— and also embraces both the mental and physical extremes of the character. [Phoenix] reportedly lost 52 pounds to achieve the sickly and troubled body Arthur carries as a burden for most of the film. His ribs protrude from his thin skin, the remains of muscles seem to have just vanished. His humble wardrobe consists of neutral browns and mustard yellows, and, to crown the many factors that make up his innocent, beatdown personality is a head, sporting long, untamed locks of hair. Upon first introduction, an appearance of callow and adolescence is what we are directed to. And Phoenix brilliantly brings this across to the viewer: the true demeanor of a kind person, who, with a long history of hardship and pain behind him, wants others to know that he’s a being (with things to offer), and that he exists, in spite of his socially alienating outbursts of laughter (though our story includes many other characters, with talents such as Zazie Beetz, Brian Tyree Henry, Glenn Fleshler, and Marc Maron making appearances, I am conveying a great atmosphere of isolation our character feels, and how he reacts to everything in that situation. So for your information, there are other characters, though our view is very centrally placed).

Now, for the laugh factor of our character. Among an extensive history of mental distress and depression, uncontrollable stretches of hysterical guffawing are an integral part of Arthur. From the earliest stages of his life, since childhood when his schoolmates would tease him and call him “Happy”, he has dealt with the infinite struggle of his involuntary and destructive chuckling in everyday life (rarely ever reflecting his real emotions, good or bad). For insight on how to execute an authentic portrayal of this terrible disorder and its repercussions, Phoenix looked to the internet, to videos of those formally diagnosed with what is known as Psuedobulbar Affect (a nervous system disorder known for causing its subjects to suddenly laugh or cry without warning). Footage shows afflicted people trying to hold back smiles and snickers before breaking out into serious belly laughs, which appear to be very painful (at least for some. It’s almost like hearing a choking or gasping for air). Joaquin achieves this affect pretty splendidly. You hear the naturalistic volume of the howls, as well the ever so slight finishes of agony with each ha-ha. laughter is a huge characteristic of The Joker (we’ve heard many different renditions of the maniacal cackle), and Phillips’ decision to shift that great element over to being a much more realistic, more relatable, and a more tortured thing is just genius!

In the beginning of the film, this ailment is something that challenges Arthur. But as we progress, with all of the different events, crazy characters, and unimaginable experiences that transpire, the disorder is something that actually becomes a defining quality; an ally he wholeheartedly internalizes and adapts to, in more ways than one.

Phoenix’s character is someone we cheer on to win ever so much, until circumstances lead him to metamorphose into an alternate individual; one who still carries those deep scars, but is now thirsty for revenge, in turn, utilizing all of the merciless cruelty he endlessly endured from others (in one way, or another). Phoenix and Phillips both collaborated to conceive a character that was defined by more than just the word “bad” (a bit of a "turn off" when it comes to the classic search for an upright figure to stand by). They wanted to make a film that brought the audience into an uncommon, discomforting setting, by exposing the plain fact that 'we are all sinners' in our own right, and that that natural corruption inside each of us would allow us to see into a character, suffering for all the wrong reasons, and abusing others for ones that are understandable.

On a whole number of different levels (visually, narratively, etc.), through Joaquin Phoenix's remarkably frightening performance (one which he refers to as an absolute “dream role”), we watch the chilling physical and spiritual evolution of our character, as he comes to realize, and give merit to the suffering he’s been through, year after year with no end, deciding that he shall no longer be trod upon. After a shaking of heaven and earth, Arthur finds a sense of power and meaning, and decides to focus in on that newfound weight, very unfortunately. He looks back at his miserable roots, and at what in life gave him the feeling of happiness and fulfillment in that (comedy, dance, making others happy, etc.)— or at least something close to it— and, reinventing himself, he comes to find a formidable face in the end that, in some ways, was just a slightly darker look in the mirror.

This is a really dark film, that seems to bestow a thrill, as well as a vast burden upon those watching, myself included. I went into this film with a lot of anticipation and excitement, not knowing the true degree of dread and demoralization (these are all synonyms for “dark" and “depressing") that would be built into everything. And though I left the theater that night with a lot to think about, to take in and put into words on “paper” as I am now, there was definitely a vale of melancholy and gloom I felt hanging over me that first night, and even now. It is a very troubling film on multiple extents, as it deals with a very graphic portrayal of one man’s depression, fantasy, and erratic nature as he reacts to his harsh surroundings (a representation of the terrible thing that mental illness is to many). It just shows the worst sides of people that, I knew before but, always tried to avoid (happy thoughts, you know?). This movie really challenged my sense of empathy for others, as Arthur relentlessly swayed my perspective for hope and compassion back and forth, until he had traveled far beyond the helping hand and support of the audience (so to speak).

This is definitely not going to be your pick for the nice Sunday afternoon (or whenever you watch your lighthearted favorites), however immersive and unsettling a film, I do believe it is worth you time (look at everything we’ve been through already!). Films that deal with really difficult topics, which can be very uncomfortable to enter the relentless existence of, can be thought provoking, and, when experienced with others, can be discussed to break down the reasons behind any opinion or resistances to the film, only learning in the process. These are all possible “coping" and learning strategies that can help, and enhance, your overall view of cinema/life. Though, inspite of these presentations, some still feel this film, among other representations of mental illness in cinema, to be irresponsible with its portrayal of the blackest blacks of mental illness.

In fact, weeks before Joker was even released, there was a huge debate between two groups of people: 1) those who believed the film to be a threat to audience members, with the potential to inspire other deranged (Joker-like) figures in their demented aspirations/beliefs (led by the families of mass shooting victims), and 2) those defending the tough film for just being a film (and a great one at that). Though the idea of a mass awakening of violence sounds a wee bit far fetched, the notion of the lone gunman steadfastly carrying out his own righteous rationale speaks very uneasily to today’s culture. It is not unfounded case. Though records of other dangerous incidents were referenced in arguments, one stood above the rest: when in 2012 (as you may know), a shooter killed and injured over 80 people in a movie theater in Aurora, Colorado, in a midnight showing of The Dark Knight (a big linking factor); after which, the shooter claimed to be following in the steps of Heath Ledger’s Joker with this heinous act.

Phillips talked about the film's vision, in response and relation to the widely voiced concerns of late. “We’re making a movie about a fictional character in a fictional world, ultimately, and your hope is that people take it for what it is,” the director said. “You can’t blame movies for a world that is so f****d up that anything can trigger it. That’s kind of what the movie is about. It’s not a call to action. If anything it’s a call to self-reflection to society.

It is certainly is a very surreal world that we live in, where we are driven to worry about our own safety through the simple act of just watching a movie, going to a bar, doing our daily things, as well as considering the negative trigger affect that (really) anything might have on others, inciting these people to act out in horrible ways. Let’s all be wary of our surroundings, and work to prevent these attacks with one major solution: gun control and background checks. That’s all I'm going to say on the subject.

Conclusion.

Christopher Nolan brought an entirely new realization to what a superhero movie had the potential to be; something much deeper than mere fist fights and cool one-liners. And ten years now after his reigning achievement with The Dark Knight, we are receiving a similarly vivid and distinctive portrayal of the “comic book movie”, as we make a unique switch over to the side of the villain. The diverse affect of these movies, pushing the boundaries of just who we cheer for, and what perspectives we become invested in, can now be seen, all around us; especially in the film industry, as multiple movie projects are now underway, inspired to bring colorful comic baddies to the forefront of these stories and screens (following the success of 2016 villain assembly adventure, Suicide Squad, an anticipated Harley Quinn standalone movie, Birds of Prey, as well as a ’Suicide sequel' are slated for release in the coming years. More later though). Delineating supervillains in all of their great power, alongside their raw humanity is something I could certainly (but cautiously) watch again, if rendered percipient and faithful.

Todd Phillips really surprised me with this riveting take on Joker’s origins, taking it to bounds I'd have never thought. A brutally honest truth (tof mental health, and the affect others interactions do have, good and bad) is emitted from the veins of this story, but it is done delivered in a, however graphic and, graceful fashion. This film couldn’t be much further from the likes of The Hangover or Starsky and Hutch (though I still hold those movies dear). I love watching people spread their talent and interest into other genres of art and storytelling; and so successfully too, as Joker has become the highest grossing R rated movie of all time.

(In case you were wondering) Though the director has strictly stated that the film’s deleted scenes will never be released (saying: “They’re deleted for a reason”), both Phillips and Phoenix have mentioned their casual discussions of there being a possible future followup up to the acclaimed story of Arthur Fleck. After portraying this startling conception of the villain, they could move on with a look at the other half that is the maturing, cunning criminal mastermind of The Joker. We would again be treading into new story ground, as Joker wasn’t based on any comics, according to the director, so as to maintain its humanizing and closer to life depiction of the familiar story.

Although I don't believe a sequel is readily necessary, I would be exhilarated to step back into this grimy scene (as I was thrilled to revisit Andy’s toys in Toy Story 4, after the initial trilogy: review here). It may not be something that's asked for, but it may be appreciated, enhancing it’s previous installment all the more. I'm not worried about that right now though (though, a neighboring title for your sooner enjoyment is the upcoming reboot of The Batman, starring Robert Pattinson as the brooding dark knight, and headed by War for the Planet fo the Apes director, Matt Reeves).

I know you cannot see a movie by merely reading a review (good or bad) on your device, but, as with all of my writing, I do hope that I have given a fitting perspective on this dark psychological thriller. This film is one that has had a great (negative) affect on me, like few others have. I didn’t really regard it as being a "movie based on comics", or anything like that. It was a much more lucid encounter. That factor of being inside someone else’s head, so immersed in mental tumult and suffering, and, especially, the aspect of comprehending the "rationality" and reasoning behind every abominable act, is enough to make you wriggle and shriek in appall. Making this story tangible (in this current world), and, at its start, relatable (to many), is what constitutes a large percentage of our ‘squirm’.

Joker is a film that follows in the footsteps of an aging and gaping cultural wound in this country (e.g. abundant cases of violence and shootings, discord between the people and the politicians, a healing, but all be it, general disregard for those lower on the totem pole, etc.), and, through the story of one man's regal journey into madness and ruthlessness, brings us to a reminder to strive to aid those who do need immediate help, and to always carry yourself in the kindest of manners, and to never shun anybody of due warmth and common decency. Because after all, you do have a real affect on others (most it unrecognized), and, by extension, the world around you. In this character study, there are mixes of truth, lies, and beliefs that Joaquin’s character conveys to the audience, which is yet another confusing particle that strikes our desire and ability to empathize at all. But in the midst of never ending savagery, we can’t help but picture the innocent and stifled voice that once described the awkward, but likable Arthur Fleck. And as he makes his way to execute what his vision for an equal society could be, to finally be given an fair chance at real life, in contrast to a lifetime of fantasies, and relating to others hurting under the heels of those with footings of authority, we see a totally different transition than from anything we’ve come across before in comic books. Rather than the to-be-expected ‘falling into a vat of toxic chemicals”, or something, we are given a raw, untamed, and unfortunate performance of what happens when one person reaches the brink of tolerance, the edge of sanity, and the point of no return.

The birth of The Joker is something that chills every viewer, with sensations of fright, (and sometimes) alongside a tint of joy to know one way it all went down (every Joker has a separate origin and storyline. Lots of multiverses happening right now!). Arthur’s journey and its explosive end, really the beginning of the end, is something that feels just a little bigger than all of us. The hilarious villain that we grew up with is just a little closer to us now

All photo/media credit goes to Warner Bros. Pictures©

If you were fascinated by this film, you might appreciate:

In all honesty, after this film, there wasn’t any one selection I felt would be a nice companion to this psychological thriller. However, I did gravitate toward several, as a one package type thing, that you could check out. My list (obvious or not) includes:

1. Taxi Driver

2. Fight Club

3. The King of Comedy

4. The Dark Knight

5. I’m Still Here

Hope you all gain some further insight on this epic film we just reviewed through these picks, as well as consuming them as individual stories, and until next time, thanks to everyone, and let’s keep going. Cheers!