by Why are some people fortunate and others miserable? What makes some prosper but most despair? And what defines good and bad people. Seeing the bigger picture, or believing in seeing it, can be a startling revelation: it’s all a joke. If there’s any character in the history of modern entertainment that epitomizes over a hundred years in search of purpose, it’s the Joker. Formerly known for his work in comedy, Todd Phillips has embarked on a quest, breaking down the character and disregarding the formula introduced by Marvel for comic book adaptations. The result starring Joaquin Phoenix as Arthur Fleck, later known as the Joker, is a film that almost seems modest with its lack of special effects and CGI. Almost, since JOKER is nothing short of a sensation.
When we look back at the 70s and 80s, we see two decades shaped by the vast contrast between economic crisis and Reaganomics. Or in other words, the unfathomable injustice separating a working class struggling to make ends meet and an upper class indulging in luxury and enjoying latest technological achievements. We invariably think of characters such as Travis Bickle out of TAXI DRIVER (1976). People with no hopes and few dreams, traumatized, to a point where they can’t imagine success or happiness. Life becomes a continuous chain of unpleasant events, a fight with nothing to fight for. Hopelessness turns into paranoia – and eventually into violence. Philips could’ve chosen any setting for JOKER but opted for the 80’s and a Gotham City with enough character to distinguish it from New York City, yet plenty of similarities that make it just as cold, anonymous and hostile. What we’re looking at is a past we haven’t learned from and that could easily repeat itself, considering current shifts in economics, social unrest and war.
Trapped in this hostile world so skillfully and beautifully filmed we still recognize its potential and former glory is Arthur Fleck. Caring for his mother he works as clown, finding himself at the bottom of society and exposed to ridicule. Arthur suffers from mental disease that makes him laugh at inappropriate times but receives insufficient and indifferent mental treatment until it is terminated for cost reasons. Even though he’s trying to be good, people feel no sympathy. And those that do, like his neighbor and secret love interest played by Zazie Beetz have too much to worry about for themselves to help him. There’s only so much a man can endure, and what happens when he finally snaps is anybody’s guess. With Arthur, it is difficult, as he learns about his own past locked back in his mind and seemingly forgotten to contain at least a basic level of psychological stability. Even though there’s a war of classes in Gotham City, Arthur has dreams like anyone else, picturing himself in the show of TV host Murray Franklin (Robert De Niro) and having success as standup comedian. When he discovers his mother believes that Thomas Wayne, head of Wayne Enterprises and wealthiest person in Gotham City, is his father, Arthur is hopeful for the last time. He’s putting his trust in a father figure that only disappoints him and everyone else. Contrary to a predominant number of DC Comics productions, Thomas Wayne isn’t the White Knight of Gotham. While running for mayor, he clearly states on TV his belief that those that haven’t succeeded in life are responsible for their failure. Thomas Wayne is yet another false god people admire. Not because he’s compassionate but because they wish they could be like him.
You don’t listen, do you? You just ask the same questions every week. “How’s your job?” “Are you having negative thoughts?” All I have are negative thoughts.
Arthur Fleck at a session with his psychatrist before transforming into the Joker
With every little failure, Arthur descends more into madness. During his descend narrated from a personal point of view rather than by an omniscient narrator, we can never be sure what is real and what happens in his imagination. Despite the fact his first murder occurs in self-defense and without intent, it accelerates his transition. In a capitalist world, Arthur transforms into the antithesis to the all-style yuppie that earns a fortune without lifting a finger. And it turns out he’s the trigger for a class war to break loose. When he’s invited to Murray’s show thanks to one of his taped standup performances being shown to make fun of him, Arthur gets his fifteen minutes of fame. But he turns the scam meant to get some laughs on his expense around to play his own game and spread chaos and anarchy in Gotham City. Those fortunate to help but opting to do nothing are punished. The Joker turns into a symbol for social justice, proving a sad truth: injustice inevitably leads to violence.
Joaquin Phoenix reinvented the character with more nuances than any actor before him. From the beginning, it is hard to tell where Arthur ends and the Joker begins (even when running in regular shoes Phoenix seems as if wearing oversized clown shoes), and how much he’s in control of the transition. Phillips and Scott Silver wrote a magnificent script that is beautifully paced and aware of how to bring about its effects, referencing its predecessors and particularly the Scorsese films TAXI DRIVERand THE KING OF COMEDY (1982) without copying them. And both direction and cinematography add to it. Contrast is key here. One of the best shots shows Arthur first ascending a long flight of stairs to get home and later the Joker, dancing and celebrating when he descends to embark on his mission. JOKER is so dense and features rich symbolism that will keep scholars and film critics busy for some time to come and encourage watching it several times. This is evidence that great filmmaking, writing and acting has no need for extensive effects and claptrap. And that a great film doesn’t have to cost a studio an arm and a leg.
Strong cast, magnificent script, splendid cinematography and a level of depth that hasn’t been achieved for some time in cinema. JOKER has all the ingredients of a classic movie. What Todd Philips accomplished is certainly one of the best films of the last decade. It is impressive to see a man destroyed by society and family transforming himself into a symbol much stronger than the system. JOKER should be understood as a reminder of what injustice and inhumane behavior can create. A true masterpiece.
