As a seasoned critic who has witnessed the rise and fall of countless cinematic masterpieces, I must say that Joker: Folie à Deux left me feeling rather… flat.
Regardless of individual opinions about the initial Joker character, Todd Phillips’s movie undeniably stirred intense reactions. It had ardent supporters and fierce critics, people who hailed it as a thoughtful, innovative attempt to redefine comic book movies and others who criticized it as a superficial imitation of Martin Scorsese or, even more severely, as an incel rallying cry that might inspire real-life imitators.
According to this writer, the solution often seems to reside in a balanced area between the two extremes. The movie was skillfully made, offering a captivating atmosphere, a stellar performance by Joaquin Phoenix, and some exceptional scenes. However, it should be noted that while it offers insights into mental health, these observations are not particularly original or deeply profound.
As it surged past $1 billion at worldwide box offices and garnered numerous Oscar nominations, including victories for Phoenix and composer Hildur Guðnadóttir, it was clear a sequel was inevitable. However, the specific direction Phillips would choose for the second installment remained uncertain.
Among all the potential outcomes, it’s unlikely many viewers would have guessed the movie we now have: it’s part musical, part courtroom drama, part tragic romance – Joker: Madness for Two is a film that strongly counters those who praised and excused Arthur Fleck’s actions in the first one. Without a doubt, this is a bold move.
Once more, the reactions have been quite intense, not overly surprising considering how passionate the initial discussion became. What’s intriguing to observe is the particular strategies some critics have employed to criticize the movie, particularly those who appreciated the earlier one. Some have disliked it simply because it’s a musical, while a significant number of its critics have problematic with the notion that it strays too far from the original film, especially given its unexpected finale. This perceived deviation has been a particular point of contention for them.
From a film enthusiast’s perspective, I must admit that I wasn’t entirely won over by “Joker: Folie à Deux.” Contrary to what some might think, it wasn’t because the concept of reimagining the original with a musical twist seemed unappealing. On the contrary, I found the notion of reinventing the narrative into a captivating musical fantasia to be quite alluring – a refreshing departure from merely extending the storyline in the same vein as the first film.
The film’s creators have been emphasizing repeatedly before its release that it is not, in essence, a musical. Lady Gaga, one of the stars, explained at the Venice Film Festival, where the movie premiered last month, “I wouldn’t call this a musical in many aspects. It’s quite distinct.” She further clarified that music serves as a means for characters to convey their emotions more deeply because speaking alone may not suffice.
Gaga’s remarks were indeed ridiculed, much like how a typical musical might be viewed – yet ironically, these statements serve as valuable insights into the filmmaking style. The movie, though undeniably a musical, appears to exhibit a certain apprehension towards its musical nature.
In essence, the songs are typically presented in a hushed, somber, slow pace that makes them seem more like spoken words rather than actual melodies. The instances where it becomes lively, often due to Lady Gaga’s contributions, are brief and insufficient. This pattern results in an overall effect that is rather monotonous, with limited variation that might even induce drowsiness. One of the key songs is “That’s Entertainment,” a well-known tune from the musical The Band Wagon featuring Fred Astaire, but its repeated title seems almost sarcastic during the film’s less engaging moments.
Perhaps a more fitting description for Joker: Folie à Deux could be “tedious”. A substantial portion of the second act dives deep into a drawn-out and less than engaging courtroom scene, which barely manages to spark any of the excitement hinted at through the performances earlier on.
The primary issue with the movie lies in its excessive focus on lengthy dialogue instead of fully embracing or developing its musical theme, a significant flaw considering the scarcity of opportunities for the exceptionally gifted Lady Gaga to truly showcase her talent.
It’s important to clarify that just because something isn’t cheerful or full of smiles doesn’t mean it should be like the carefree Singin’ in the Rain. There are many movie musicals that tackle serious and tragic themes, such as Cabaret and both versions of West Side Story, which stand out for their vibrant energy and vitality. However, Joker: Folie à Deux seems to lack this dynamic quality.
This film is simply too subdued and muted for its own good, and that is the reason why it fails.
Joker: Folie à Deux is now showing in cinemas.
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2024-10-07 19:04