Following in the footsteps of Catwoman (2004) and Batman Begins (2005), Joker tells the origins story of one of the key figures from the Batman canon. We are introduced to Arthur Fleck (played by Joaquin Phoenix), a mentally ill man who has a very peculiar condition: in moments of extreme stress or discomfort he will break out into paroxysms of uncontrollable laughter. His disturbed psychological state and unnerving physical condition lead him to having problems finding employment or any sense of acceptance within mainstream society. Nevertheless, he harbours dreams of becoming a comedian.
However, the barriers to Arthur's success stem from both his inner struggles and the fact that Gotham City more generally seems to be reaching a point of crisis. Budget cuts mean that rubbish is piling up on the streets, and the threat of robbery and violence appears to be around every corner. In response, Thomas Wayne (played by Brett Cullen), a local billionaire, has anointed himself as the city's saviour and plans to run for the position as Gotham City's mayor. But the last thing the city apparently needs is an out-of-touch billionaire maintaining a colossal gap between the rich and the poor. Another hero is demanded, or, better yet, an anti-hero: someone who will burn down the entire structure in the hope that something better might emerge.
One of a very small number of films to take place within the Batman universe without featuring Batman himself, Joker more than makes up for the lack of the Dark Knight. This is because the film is an intense character study which is powered along by a sinister and hypnotic performance by Joaquin Phoenix. Phoenix's Joker is a man in pain. He suffers due to his mental illness but his suffering is compounded by the way in which he is abused and abandoned by society. Thus, we are presented with a surprisingly sympathetic portrayal of Batman's most famous adversary. Each step into murder and violence that Arthur takes is at least in some way a reaction to the misery, ridicule and violence that is inflicted upon him. He is a man who is beaten and broken by his surroundings to the point where he has nothing to lose and his decision to turn his ire against society, as opposed to against himself, is depicted with a cathartic heroism. The authentic misery and suffering Phoenix portrays through the character, complete with his skeletal figure, maniacally twisted features and dark, pain-filled stare, serve to intensify the heroism of his blood-soaked acts. This makes the film deeply subversive.
As well as heroifying violence and murder, the film overtly acts as a black mirror reflecting the political situation of our era. In today's world, the gap between the rich and the poor seems to be forever growing larger and many feel as if traditional political figures are no longer effective in these more challenging times. Those on the lowest incomes or in greatest need are increasingly feeling abandoned and ignored. Against this backdrop, the film acts as a stark warning to all those in society who have been able to prosper while so many have been plunged into destitution: a reckoning will arrive and "You will get what you deserve."
As a stark, disturbing character study the film functions extremely effectively. Phoenix is the film's centre but he is diligently framed in early scenes in wide-angled shots walking through empty streets and inside empty buildings, thereby heightening the protagonist's sense of isolation. Of course, the film notoriously borrows many of its techniques in this regard from Taxi Driver: another film about mental illness, societal disconnection and social isolation. However, although the film lacks originality in terms of its style and theme, it certainly does not in regards to its central performance.
The art direction is eye-catching while also being austere. Muted colours are used throughout helping to create the film's gritty, off-key mood. Joker is often filmed dancing in slow motion in a physical expression of both his triumph and pain. Darkness also appears at key times, particularly during the main subway scene, which heightens the nightmarish quality the film possesses.
The way in which the film includes elements of Batman lore while telling its protagonist's story is also a marvel to behold. Tom Wayne is a compelling, albeit minor, character. And we even get a scene with a very young Bruce Wayne. The dovetailing of the film's climax with an infamous aspect of Bruce Wayne's backstory is particularly skilfully achieved.
The above, then, detail the ways in which the film succeeds. There are, however, a number of issues with the movie. Going back to the concern with originality, it does often feel as if director Todd Phillips borrows a little too heavily from his idol Martin Scorcese. The Taxi Driver parallels are palpable but so is the profoundly obvious inspiration of The King of Comedy. All modern directors stand on the shoulders of giants but the line between homage and plagiarism feels as if it's being crossed on a number of occasions.
The extremely heavy reliance on Phoenix's performance does also mean that the film has pacing issues. The physicality of Phoenix's portrayal is fascinating but there are at least one too many scenes of his primal cavorting. A sub-plot regarding Fleck and a possible girlfriend is also ineffective and highly predictable and should have been abandoned before the final cut.
But the biggest problem with the film is the way in which it communicates its overall "message". It is presented to the viewer with the subtlety of a rocket-propelled mallet smashing into one's skull. The film is so obviously a canvass for justified debauchery that it blunts the political points that it seemingly wishes to make. There is value to not making your intentions so obvious. Phoenix has the ability to show so much, whereas the script, time and time again, resorts to megaphone-operated bellowing.
Overall, this is an at times mesmeric experience which will disturb, repulse and revolt in equal measure. It also provides an uncomfortably realistic glimpse into the mind of an ill and abused individual. On top of this, the film is a miraculous effort in that it demonstrates that such levels of character depth and overall stillness can belong to the comic-book universe. But the lack of restraint in key moments and the failure to build on the inspiration of iconic films, as opposed to simply borrowing from them, means that this film falls short of achieving genuine greatness.
However, the barriers to Arthur's success stem from both his inner struggles and the fact that Gotham City more generally seems to be reaching a point of crisis. Budget cuts mean that rubbish is piling up on the streets, and the threat of robbery and violence appears to be around every corner. In response, Thomas Wayne (played by Brett Cullen), a local billionaire, has anointed himself as the city's saviour and plans to run for the position as Gotham City's mayor. But the last thing the city apparently needs is an out-of-touch billionaire maintaining a colossal gap between the rich and the poor. Another hero is demanded, or, better yet, an anti-hero: someone who will burn down the entire structure in the hope that something better might emerge.
One of a very small number of films to take place within the Batman universe without featuring Batman himself, Joker more than makes up for the lack of the Dark Knight. This is because the film is an intense character study which is powered along by a sinister and hypnotic performance by Joaquin Phoenix. Phoenix's Joker is a man in pain. He suffers due to his mental illness but his suffering is compounded by the way in which he is abused and abandoned by society. Thus, we are presented with a surprisingly sympathetic portrayal of Batman's most famous adversary. Each step into murder and violence that Arthur takes is at least in some way a reaction to the misery, ridicule and violence that is inflicted upon him. He is a man who is beaten and broken by his surroundings to the point where he has nothing to lose and his decision to turn his ire against society, as opposed to against himself, is depicted with a cathartic heroism. The authentic misery and suffering Phoenix portrays through the character, complete with his skeletal figure, maniacally twisted features and dark, pain-filled stare, serve to intensify the heroism of his blood-soaked acts. This makes the film deeply subversive.
As well as heroifying violence and murder, the film overtly acts as a black mirror reflecting the political situation of our era. In today's world, the gap between the rich and the poor seems to be forever growing larger and many feel as if traditional political figures are no longer effective in these more challenging times. Those on the lowest incomes or in greatest need are increasingly feeling abandoned and ignored. Against this backdrop, the film acts as a stark warning to all those in society who have been able to prosper while so many have been plunged into destitution: a reckoning will arrive and "You will get what you deserve."
As a stark, disturbing character study the film functions extremely effectively. Phoenix is the film's centre but he is diligently framed in early scenes in wide-angled shots walking through empty streets and inside empty buildings, thereby heightening the protagonist's sense of isolation. Of course, the film notoriously borrows many of its techniques in this regard from Taxi Driver: another film about mental illness, societal disconnection and social isolation. However, although the film lacks originality in terms of its style and theme, it certainly does not in regards to its central performance.
The art direction is eye-catching while also being austere. Muted colours are used throughout helping to create the film's gritty, off-key mood. Joker is often filmed dancing in slow motion in a physical expression of both his triumph and pain. Darkness also appears at key times, particularly during the main subway scene, which heightens the nightmarish quality the film possesses.
The way in which the film includes elements of Batman lore while telling its protagonist's story is also a marvel to behold. Tom Wayne is a compelling, albeit minor, character. And we even get a scene with a very young Bruce Wayne. The dovetailing of the film's climax with an infamous aspect of Bruce Wayne's backstory is particularly skilfully achieved.
The above, then, detail the ways in which the film succeeds. There are, however, a number of issues with the movie. Going back to the concern with originality, it does often feel as if director Todd Phillips borrows a little too heavily from his idol Martin Scorcese. The Taxi Driver parallels are palpable but so is the profoundly obvious inspiration of The King of Comedy. All modern directors stand on the shoulders of giants but the line between homage and plagiarism feels as if it's being crossed on a number of occasions.
The extremely heavy reliance on Phoenix's performance does also mean that the film has pacing issues. The physicality of Phoenix's portrayal is fascinating but there are at least one too many scenes of his primal cavorting. A sub-plot regarding Fleck and a possible girlfriend is also ineffective and highly predictable and should have been abandoned before the final cut.
But the biggest problem with the film is the way in which it communicates its overall "message". It is presented to the viewer with the subtlety of a rocket-propelled mallet smashing into one's skull. The film is so obviously a canvass for justified debauchery that it blunts the political points that it seemingly wishes to make. There is value to not making your intentions so obvious. Phoenix has the ability to show so much, whereas the script, time and time again, resorts to megaphone-operated bellowing.
Overall, this is an at times mesmeric experience which will disturb, repulse and revolt in equal measure. It also provides an uncomfortably realistic glimpse into the mind of an ill and abused individual. On top of this, the film is a miraculous effort in that it demonstrates that such levels of character depth and overall stillness can belong to the comic-book universe. But the lack of restraint in key moments and the failure to build on the inspiration of iconic films, as opposed to simply borrowing from them, means that this film falls short of achieving genuine greatness.