Image Source: IMDb Joker: Folie á Deux Profile
Lillian Anderson, Staff Writer to The Powderhorn
The release of “Joker” in 2019 shocked audiences with its fresh and unique portrayal of one of the world's most well-known comic book villains. The movie earned over a billion dollars worldwide and remains one of the highest-grossing R-rated films of all time. Many fans held high hopes for the sequel, “Joker: Folie á Deux,” directed by Todd Philps, as it would introduce Lady Gaga as Harleen Quinzel. The musical thriller has earned $193 million worldwide.
“Joker: Folie á Deux” continues the story of Arther Fleck, a failed comedian who develops a second persona he calls Joker. After the first film’s events, Arthur is committed to Arkam State Hospital while awaiting trial for his crimes. During his time in prison, Arthur meets Harleen Quinzel, and the situation complicates itself. As the film progresses we watch Arthur and Harleen fall deeper into madness through the film's unique storytelling and musical numbers.
Many fans left theaters disappointed by the film as it lacked much of the action expected from a DC project. Some could argue that the 2019 “Joker” film had a similar issue, but the original film offered a unique perspective on beloved characters and a highly compelling story. “Joker: Folie á Deux” felt interrupted by the over a dozen song and dance numbers performed throughout the film. These interruptions led the film to lack a compelling plot making it feel underwhelming and mundane.
While the film's plot may have been lost somewhere along the way, the chemistry on screen was undeniable. The performances by Joaquin Phoenix as Arthur Fleck and Lady Gaga as Harleen Quinzel were undoubtedly amazing. Both actors portrayed increasingly nuanced emotions and ideas, working well together on screen. The casting of other major characters also seemed to be nearly perfect, as Brendan Gleeson delivered a compelling performance as Jackie Sullivan, a guard at the Arkham State Hospital.
Despite many people's dislike of the musical numbers throughout the film, they feature a brilliant use of color as a storytelling tool. This is evident in Arthur Fleck’s fantasies, where he often sings and dances; the sequences become increasingly elaborate and colorful, particularly featuring colors from the Joker's palette, as he sinks deeper into his identity as the Joker.
In the end, “Joker: Folie á Deux” couldn’t meet fans' expectations. The film tried to bridge the gap between a musical and a comic book movie, but it ultimately failed to cater to either genre, as neither the musical numbers nor the plot stood out. The film’s poor reviews are not a reflection of the actors’ performances, which provided an uplifting factor and gave viewers a reason to keep watching. Whether viewed as a failure or a masterpiece, “Joker: Folie á Deux” will certainly go down in history.
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