Todd Phillips, the director of the Joker – a film that raked in $1 billion and clinched two Oscars, has taken an astonishingly unconventional route for his latest venture. Rather than pandering to the desires of studio auditors by further exploring the psyche of his villainous protagonist, he has instead embarked on the creation of a musical – a form that openly renounces the unsavoury views championed by some of the Joker’s more unstable admirers.
The word ‘musical’ is used lightly here, as both Phillips himself and his leading lady, Lady Gaga, have strived to declare their film as anything but. At the Venice premiere, Gaga retorted, “I would not go so far as to label this a true musical. Music simply provides our characters with an alternative language when dialogue and the scene aren’t enough to convey their emotions.” So, in other words, it indeed classifies as a musical.
Even if this concept missed its mark, it would still be a brilliant kind of misstep. Perhaps evoking a fabulously flamboyant rendition of Jailhouse Rock. However, what we’re left with is a mundane spectacle that barely manages to get off the ground. Fast forward two years after Joker, Arthur Fleck, once more embodied by the tormented Joaquin Phoenix, is bracing himself for his postponed murder trial.
His loyal attorney, portrayed by Catherine Keener, is dedicated to pulling out every trick in the book to resist the death sentence, whereas Arthur seems more invested in theatrical spectacles. A budding romance with fellow convict Harleen “Lee” Quinzel (Gaga) is another distraction, derailing Arthur’s attempts to present a composed facade for the jury.
Viewers might understandably anticipate a preliminary sequence in the courtroom, a precursor to the core narrative where Joker descends on Gotham City to orchestrate further chaotic disruption. This isn’t the case, however. A substantial portion of the film unfolds in the vicinity of the courtroom, notwithstanding, it isn’t a conventional court drama. There aren’t many unexpected witnesses and a gory knife to jolt your memory doesn’t instantly appear. The ‘Folie à Deux’ trial is consumed by meaningless conversations punctuated by mediocrely choreographed musical performances.
Phillips does not seem to have established an even approach to these singing intervals. Some come across as pure dream sequences, seemingly occurring in the characters’ imaginations. Meanwhile, others present Fleck or Lee, as per traditional Broadway pathway, running out of dialogue and transitioning into song (much akin to Gaga’s musical revocation). The choice of timeless American classics – Get Happy, Smile, That’s Entertainment – could only be more blatant if it concluded with Joker vociferously performing My Way. Instead, he is permitted an undeserved subdued rendition of Jacques Brel’s If You Go Away.
The two main characters lack dynamic interaction during spoken scenes, becoming barely less lifeless as they break into song. The disparity in their performance styles further complicates matters. Phoenix (who performed his own songs in Walk the Line) does not drawl like Rex Harrison, yet his passable performance is starkly mismatched with Gaga’s victorious belt out. One gets the impression that Phillips might be up to some masterly trick here. Don’t appreciate it? He likely doesn’t care.
The central relationship is hampered further by the lacklustre introduction between the two characters. Although it’s understood that the two Joker films have boldly deviated from the original comic, it’s presumptuous to expect viewers to recognise Harley Quinn (aka Lee) and develop a backstory for this version. It’s presumed that they’re indulging in mutual self-destruction. However, for those unfamiliar with the world of Gotham, the sudden burst of operatic fervour from the duo might weave a narrative of confusion.
Despite everything, it’s rather heartening to witness a modern director daring to gamble with such a prized asset. The project carries considerable momentum which could yet result in notable profit, and that wouldn’t necessarily be negative. We definitely need more audacious, troll-related grand attempts. Joker: Folie à Deux hits the big screen starting Friday, October 4th.