The film industry was buzzing when Todd Phillips' "Joker: Folie à Deux" hit theaters, following the staggering success of its predecessor released five years earlier. The 2019 film, featuring Joaquin Phoenix, not only captivated audiences but also garnered numerous accolades. Fast forward to the arrival of the sequel, and expectations were soaring for "Folie à Deux" to replicate or even surpass the original's triumph. Unfortunately, this sequel morphed from potential blockbuster to one of the biggest box office flops of the year.
Despite its commercial failure, some critics provided praise, with publications like Empire and Sight and Sound offering more favorable reviews. Conversely, audiences were largely dissatisfied, feeling betrayed by what they perceived to be the film's abandonment of the first movie's core themes. But as the dust settled, many began to ponder whether this sequel turned out to be misunderstood. Could it, against all odds, be considered a secret masterpiece?
“Joker: Folie à Deux" boldly continues the story of Arthur Fleck, whose tumultuous life takes him back to Arkham asylum, where he reflects on his past life choices and the societal structures surrounding him. A unique twist is introduced with Lady Gaga portraying Harleen Frances Quinzel, or Harley Quinn, deepening the narrative with her admiration for Arthur’s Joker persona. This relationship provides layers of commentary on the original film itself, as Harleen's representation reflects how fans are obsessed with Arthur's image as the Joker rather than his traumatic backstory.
The meta-commentary embedded within "Folie à Deux" offers not only character motivations but also intended takeaways for audiences. It delves deep, questioning whether the Joker's identity is genuinely reflective of Arthur's inner turmoil or merely one fabricated by societal expectations. Throughout the film, Arthur grapples with his alter ego, prompting viewers to reconsider what they desire from his character.
A significant aspect of this sequel is its critique on fame and media, exemplified through Arthur's court case which is broadcast for all to see—transforming him from tragic figure to sensational entertainment. Ironically, this is reflective of how the first movie turned Arthur’s struggles and the theme of mental health itself—an exploration of exploitation—into something sensationalized by the studios. This dichotomy raises questions about what audiences truly want: do they seek to witness transformation, or do they prefer the allure of villainy?
The title, "Folie à Deux"—a term for shared delusions—takes on dual meanings: it addresses both Arthur’s mental state and the audience's complicity. Here, Phillips appears to challenge the viewers, highlighting the shared madness between protagonist and spectator. It’s almost as if he questions the audience's own perceptions and desire to witness Arthur’s descent without considering the narrative's overarching message of humanity and redemption.
At its core, Joaquin Phoenix again delivers an extraordinary performance, embodying Arthur’s emotional depth and struggle. This time, with less dialogue, his expressions convey a range of complex emotions, amplifying the film's tension as he is relentlessly mistreated by those around him. The supporting cast also shines, particularly Brendan Gleeson as Jackie Sullivan, the Arkham security guard whose chilling transformation between roles accentuates the film's dark atmosphere.
What sets "Folie à Deux" apart from its predecessor is its incorporation of musical elements—transforming the narrative through both diegetic and fantastical performances. The musical numbers explore the connection between Arthur and Harleen, utilizing inventive staging and lighting to evoke vivid contrasts of emotion. The usage of color, particularly between Arthur's stark, muted prison cell and the richness of his interactions with Harleen, visually depicts his psychological state and the broader themes of confinement and liberation.
Despite the mixed feelings from audiences, the film's true intent seems to lean toward encouraging viewers to grapple with their relationship to both the Joker and the actors' portrayals. Phillips challenges the narrative arc: what if Arthur’s desired outcome to be embraced as the villain deviates from the actual aim of self-discovery and healing?
“I don’t think we’re giving the audience what they want,” Arthur’s words resonate as both a declaration and critique, illustrating the disconnect between creator and audience expectations. Instead of presenting yet another villainous rise to power story, "Folie à Deux" strives to ground itself within reality, where every character—especially the ones society deems mad—possesses untold depths deserving exploration.
Overall, the disappointment surrounding "Joker: Folie à Deux" stems from viewer expectations rather than the film’s execution. With bold storytelling choices, phenomenal performances, and rich thematic depth, perhaps this misunderstood sequel is not so much about the failure to deliver what the audience wants, but rather about exposing the nuances of those very desires.