Joker Offers A Flawed Yet Fascinating Interpretation Of Batman’s Greatest Foe
It’s fair to say that many balked at the idea of making a standalone Joker film, especially as fans continue to dispute the successes and failures of DC Comics-based films in comparison to the box office juggernaut that is the Marvel Cinematic Universe. As one might imagine, there was a considerable number of fans who believed a character so defined by their lack of a canonical origin should never have his status tarnished by an origin film. And the closer the Joaquin Phoenix-starring film came to release, came concerns about the film possibly inciting violence among those who fit the profile of a potential mass shooter. The Joker stands as one of the most notorious villains of popular fiction ever put to page, and as “mass shooting season” has become an actual thing in America, Some questioned the need for a film that seemed to focus on a lone white man who finds his release in chaotic violence.
Having finally watched the film for myself, I would argue that some of these concerns were frankly unfounded. Even with the influence of films like Taxi Driver and King of Comedy, Joker is far from the incel manifesto pre-emptive critics feared (and perhaps WANTED) it to be. Modeled after early 80s New York City, the Gotham of Joker finds Joaquin Phoenix playing Arthur Fleck, who aspires to be a comedian, but has more than a few obstacles in his path. The city’s economy has all but gutted the middle class, leaving only the super wealthy and the destitute, with very little in between. Already a struggling clown performer, Arthur is plagued by involuntary fits of laughter that ultimately make him off-putting for most who interact with him. As the city repeatedly knocks him down, Arthur slowly reaches his breaking point, and Gotham City may never recover.
Obviously, there are a number of die-hard comic book fans who hold to the belief that Joker is a character that is interesting precisely because of his lack of a backstory. There have been hints at it over time, but nothing that’s ever been set in stone. However, I would argue that part of what makes Joker work as a standalone film is that it’s an opportunity to make Gotham a character in and of itself. Admittedly, the film can feel too much like New York instead of its own fictional city, but given the fact that Gotham was always meant to be analogous to NYC in the comics, I won’t be taking much issue with that. Taking place in the early 80s, the urban decay of Gotham feels organic, lived in, and alive itself, albeit in a state of deterioration. This proves to be a necessary element in telling Arthur’s story as much as Joaquin Phoenix’s performance. The streets are dirty, countless buildings are in disrepair, and nothing mechanical works like it should. Watching as a select few continue to prosper from such a low perspective feeds into a great deal of dramatic tension in the film. The subplot of Bruce Wayne’s father Thomas running for mayor only serves to build this tension. The character stands as an avatar to the idea of the road to hell being paved with good intentions, seemingly wanting to do good, but without any real awareness of what his potential constituents go through on a daily basis.
As this relates to Joaquin Phoenix’s performance, we see Arthur struggle to support himself as his mother, played by Frances O’Connor, and often being struck down verbally and physically, and he does an exceptional job of conveying the emotions and fractured mental state of a character who is oftentimes overlooked, if not outright punished for even trying to stand out. The performance is unnerving and at times, legitimately sad. Phoenix effortlessly weaves between calm resolve and manic laughter that is as uncomfortable for Arthur as it is for the people around him. There is a visible pain that he is going through as he tries to suppress it, acknowledging the times when it may not be appropriate. Phoenix’s dramatic weight loss also can’t be ignored, as his wiry, emaciated frame makes for many an unsettling scene throughout the film, coupled with his change in body language and bouts of what can only be described as interpretive dance therapy. A scene of Arthur in a subway bathroom, in particular, feels like the character is experiencing some cathartic breakthrough that he’s been waiting to have for some time, and while admittedly bizarre, it still manages to work given Phoenix’s commitment to the character.
The supporting cast for Joker shouldn’t be ignored either. Robert Deniro shines as late night talk show host Murray Franklin, who Arthur idolizes, and it was interesting to see Bret Cullen in the role of Thomas Wayne, after having previously appeared as a random politician in The Dark Knight Rises. Given how his character is seen without the perspective of Bruce Wayne, it’s fascinating to see Thomas Wayne portrayed in an almost unfavorable manner. Cullen’s Thomas Wayne has his heart in the right place, but he plays him with an underlying dismissiveness that infuses the character with a realism that we’ve rarely seen in other depictions of the character. As Sophie, Zazie Beetz brings a warm and nurturing quality to the character, as her and Arthur develop a relationship with one another. I especially liked the character of Gary, played by Leigh Gill. As one of Arthur’s coworkers, he stands out as someone Arthur can look to as a kind person. This actually plays into events later in the film, and Gill’s performance in this particular moment is most certainly earned. It’s one of the most tense moments in Joker, and Gill’s performance connects with the audience on a truly emotional level.
The film does suffer from being considerably slow-paced, however, despite clocking in just around two hours. The story is rather minimal, and it can drag at certain moments. It’s a slow burn for a reason, but it does work against the film at certain points. We spend a lot of time waiting for the proverbial other shoe to drop, and there is one subplot, in particular, that feels a little too contrived when finally resolved just before the third act. Joker does have a tremendously strong finish, though, as we see Arthur’s evolution into the Clown Prince of Crime, and it’s a version of the character that is maddeningly grounded and real, balancing whimsy and cold calculated menace in equal measure. Joaquin Phoenix delivers a very different interpretation of the Joker that manages to feel entirely removed from the Batman mythos, but also still connected to it in a more subtle and understated fashion. The film’s few issues aside, I certainly wouldn’t mind seeing more experimental takes on popular DC Comics characters, especially their villains.
3.5 out of 5
