Joker: Folie à deux
I wonder what went through Joaquin Phoenix's mind when he learned he would be starring in a musical (yes, it’s a musical—please, for God's sake) alongside Lady Gaga—but doing most of the vocals himself?
Joker: Folie à Deux marks the second chapter of Todd Phillips' saga about the iconic villain—a larger-than-life figure capable of plunging society into chaos. Yet, one must ask: What new story does this sequel want to tell?
Surprisingly, very little. The most apparent takeaway from Folie à Deux feels more like an extended postscript to the first film. Calling it a "sequel" feels generous—it's more of a closing note to Arthur Fleck’s character arc than a full-fledged continuation of the narrative.
We delve deeper into Arthur's psyche, witnessing his twisted thought processes, his desires, his regrets, and the core of who he truly is. The film exposes the triumph of madness over reason, weakness over strength. What we are presented with feels like a self-portrait of a madman—one whose chaos far surpasses his individuality as a human. This time, though, Joker isn't just a symbol of societal revolt. He’s also a man, burdened by human emotions—chief among them, love. Every Joker finds his Harley Quinn, but not every Harley Quinn finds her Joker.
Speaking of Harley Quinn, Lady Gaga is there too. Contrary to the early festival buzz, fans should rest assured—there is plenty of Gaga to go around. Perhaps even too much at times, leaving you to wonder about her purpose in the broader narrative.
Joaquin Phoenix, despite the weight of his personal struggles, continues to demonstrate his undeniable skill as an actor. His portrayal of Arthur Fleck feels more subdued and weary than before, yet it aligns with the film's overall tone. As for Lady Gaga, while her performance may not redefine the role of Harley Quinn, she holds her own alongside Phoenix. She doesn't steal the spotlight, but her presence complements the narrative rather than detracts from it. Their on-screen chemistry works well, even if it doesn’t ignite with the intensity one might expect from two such dynamic performers.
Visually, however, this film is stunning. Phillips masterfully crafts a haunting atmosphere, using color, shadow, and composition to immerse us in Arthur’s madness. The musical elements add a surreal layer to the storytelling, even if they don’t always land tonally.
[The rest of this review contains spoilers, which are essential to drawing final conclusions.]
Now, let's talk about the plot twist—the one that wraps up Phillips' two-part saga. As it turns out, we haven’t been watching the Joker after all. Arthur Fleck is merely a prototype, a precursor to the iconic Joker we all know. His madness inspires the very man who kills him in the film's climax, someone who will become the Joker. There's a strong suggestion from my side that this young man could be Heath Ledger’s version of the character.
And just like that, it’s revealed that we’ve been following a man whose only real contribution was inciting a movement he had little control over. The angry mob does the protesting for him, and in the end, the true Joker dispatches Arthur Fleck. That’s it. 2.5 hours of storytelling reduced to a few moments. Remove Harley Quinn from the equation, and little about the story changes—except, perhaps, the timeline of Arthur’s descent into madness.
The ending of Folie à Deux feels almost like a cheat, reminding us that it’s not just the Joker capable of deceiving his audience into believing they've witnessed something profound when, in reality, they may not have.
5.5/10
