Writer’s note: The second paragraph of this article (just below the first image) contains a basic outline of the film’s premise. There are no spoilers that weren’t already inferred in the film’s own trailer. However, if you want to completely avoid potential spoilers, skip over the second paragraph.
Following the release of Joker (2019), the director Todd Phillips was in an unenviable position. Imagine you’re in his shoes: You have just made the highest grossing R-rated film ever made (at the time), which is also one of the few films to make more than $1 billion at the global box office. The film was intended, constructed and marketed as a one time thing, with no sequel plans on the table. However, the studio has now ordered you to deliver a sequel, due to the mammoth success of the film. Not only do you now have to continue a story which was previously a closed book, but you also have to contend with the film’s complicated reception. It may have been a hit, but it was controversial for its derivative story, its confused messaging, and its rabid fanbase, who still regard your monstrous lead character as a hero. In conceiving a sequel, do you satiate the expectations of the fandom who idolise the Joker, or do you try to make it clearer that he is not to be hero worshipped? The first option will result in poor reviews, whereas the second will result in the fans skipping the film, stunting the box office receipts. This is the challenge facing Todd Phillips with his sequel, Joker: Folie à Deux (2024).
Set two years after the events of the first film, Arthur Fleck (Joaquin Phoenix) AKA The Joker, is in custody at Arkham State Hospital awaiting trial. Despite his brutal murder of five people, including late night talk show host Murray Franklin (Robert De Niro), Fleck’s lawyer Maryanne Stewart (Catherine Keener) is encouraging Arthur to claim that he suffers from multiple personality disorder. Despite repeated attempts to bring back his Joker persona, Arthur is unable to do so. That is until he meets Harleen “Lee” Quinzel (Lady Gaga), another in-patient who idolises the Joker, as well as the horrific acts he committed. As the pair fall in love, Arthur is able to reconnect with his dark side, once again feeling empowered by being the Joker. However, as Arthur hears all the testimonies against him at his trial, his commitment to the Joker may be wavering.
For a film which runs at two hours and 19 minutes, there’s an exceptionally small amount of things happening throughout. The entire film is predominantly set in two locations: Arkham State Hospital and the Courthouse. In both locations, much of the screen time is dedicated to characters discussing the events of the first film, resulting in this theoretically large story feeling incredibly small. That’s not inherently a bad thing, as it can allow for complex and interesting character development. Despite Joker: Folie à Deux attempting this, it unfortunately doesn’t flesh out what it’s trying to say or do with its characters. Unlike the first film, Phillips wants Joker: Folie à Deux to properly unpack how unnerving it is that a character like the Joker inspires fanfare instead of condemnation. The fact that so much of the film’s themes, dialogue, music, scenarios and metaphors are geared towards condemning Joker is admirable, but the empty scenes and flat storytelling hinder all that.
It’s certainly a strange result, as Joker: Folie à Deux is infinitely more interesting than the flawed original, and has the correct thematic approach, yet it isn’t any better than the first film. How can a film be more well intentioned than its predecessor, yet still be lesser? Simply, Phillips has had to walk back much of what the first film did in order for Joker: Folie à Deux to make any sense. By the end of Joker, there was absolutely no question as to whether or not Arthur Fleck had become the clown prince of crime. He was the Joker through and through, so it’s odd that Joker: Folie à Deux begins with Arthur in a more sane headspace than he’s ever been. Even the returning characters are given information we know they didn’t have, or they have to relay the problematic events of the first film in an alternate light. While some of these moments are interesting and enhance the viewing experience, many of them reframe things into a position they weren’t at the time, just so Joker: Folie à Deux can now make its elevated point. This is all very awkward and distracting, regardless of whether you were a fan of the first film or not. In making a sequel, a filmmaker needs to work with the material left on the table, not pretend it was different just to satisfy the new film’s needs.
Regardless, the retroactive storytelling wouldn’t be too much of an issue if the story at hand was more compelling, which sadly it isn’t. In addition to being too long, too predictable and too repetitive, the shift in genre from crime thriller to musical thriller is jarring. Granted, it is a creative idea, and does have some basis in the original, and even the character himself. Joker is all about showmanship, and the first film did rely heavily on non-diegetic music. These things are integral to musicals, and the Joker is prone to fantasies, delusions or daydreams, which musical sequences generally are. It’s not impossible for this idea to have worked, and we’ve seen it work incredibly well in the crime genre with Chicago (2002). As expected, the musical numbers aren’t to be taken literally, as they seem to be the imagined fantasies of the characters. The issue lies entirely with the stagecraft and narrative integration, as these sequences are poorly choreographed and do very little to push the character development or story forward. They are simply diversions which make the film longer, and aren’t particularly enjoyable on their own merits.
Joker: Folie à Deux isn’t a total disaster, as the performances, cinematography and score are top notch. Joaquin Phoenix has already won an Oscar for playing this character, and he is just as committed this time around. In many ways, his performance is actually more engaging, as he has to do a lot more than just be a sad and lonely creep for two hours. This time, he has to integrate connivance and reflection into his grim portrait of the Joker. Lady Gaga also does great work as Lee, however she does feel underused in the grand scope of the story. The moments which could have injected some propulsion into the story involve her, yet very little of that is utilised. In fact, it feels at times like massive sections of her arc have been cut out of the final edit. Brendan Gleeson is also on hand as Jackie Sullivan, an abusive prison guard who enjoys tormenting Arthur and the other patients. He’s not a typical tormentor, as he couches his abuse inside layers of friendliness, a balance that only Gleeson could master. The star of the show is undoubtedly Leigh Gill as Gary Puddles, Arthur’s former colleague who takes the stand against him in the film’s most engaging dialogue exchange.
All this builds to an incredibly frustrating film, much like its predecessor. Although, that frustration is very different. The first Joker was frustrating for being cinematically and intellectually offensive, pretending to be complex despite not having much to say, and was a carbon copy of better films. Joker: Folie à Deux is frustrating for having something on its mind, trying to be different, yet it completely squanders that potential. In the end, Todd Phillips took the more risky approach with Joker: Folie à Deux. He chose the path that would ensure absolute rage from the fandom, but would gain respect for his creative integrity. Sadly, his didn’t succeed in that intention, making Joker: Folie à Deux a noble failure.
4/10
Best way to watch it: Instead of the first Joker, watch Taxi Driver (1976) and The King of Comedy (1982). Instead of Joker: Folie à Deux, watch Primal Fear (1996) and Chicago. There. I just saved you four ours of torture, and gifted you eight hours of excellence. Fair deal.
