Review: 'Joker'
“Joker” is directed by Todd Phillips and written by Todd Phillips and Scott Silver. The film stars Joaquin Phoenix as Arthur Fleck, a man with multiple mental illnesses who struggles to be seen as the world collapses around him.
“Joker” is only associated with the comics and comic book movies in name. Other than the presence of a handful of DC characters, this film is a purely original story about a rapid descent into violent madness.
The film has garnered many comparisons to Martin Scorsese’s “Taxi Driver.” There are similarities as both films silently follow an off-beat character’s descent into madness expressed through violence.
Both films are structured where they do not pass judgment upon their characters; they only display their actions. This is something that did not bother me as I was able to see the unique offerings of “Joker” and separate the two films.
If you are under the impression this will be a dark, serious comic book movie like “Logan” or “The Dark Knight,” you are mistaken. “Joker” is one of the darkest drama-thrillers that I have ever seen. This film is not for everyone, both in tone and in content.
I’ve spent as long as I can without talking about Joaquin Phoenix. Phoenix is unbelievable in this film. His portrayal of Fleck is downtrodden and sympathetic while remaining terrifying and threatening.
There are times when your heart will break for him, but this is contrasted by him betraying you and being the most vile and evil person on-screen. There are times when Fleck is likable and sympathetic, but you can also see some darkness hiding in his eyes.
This undeniable pain is best exemplified in his laugh. Phoenix’s laugh is unsettling and psychotic while also appearing to be his honest and true laugh. If he laughs for too long, it hurts him and you see, hear and feel the pain in his chest as he clears a buildup in his throat.
Though there is a decently sized and recognizable supporting cast, they are all overshadowed by Phoenix. Robert De Niro and Zazie Beetz both turn in some decent performances, especially Beetz. They are not given much screen time due to the audience being trapped in the mind of Fleck, but they do a great job in that time.
The direction by Todd Phillips is stunning. As someone who is not a fan of the types of comedies that Phillips is known for—“The Hangover” series—I admit I was nervous this would be a terrible movie propped up by a great performance.
This did not turn out to be the case. Phillips surprised me with how he positioned the camera and paced his story. This is due in part to the screenplay written by Phillips and Scott Silver, who is best known for co-writing David O. Russell’s “The Fighter.” This screenplay features great dialogue and wonderful set pieces, but the highlights are the character work on Fleck and the background narrative.
The cinematography by Lawrence Sher, a frequent collaborator of Phillips, is breathtaking. The color pallet and grungy, fluorescent lighting maintain the dark and dirty mood of the story. The editing by Jeff Groth is a wonderful compliment to Sher’s work and also unsettles the viewer at times by changing up the rhythm of scenes.
The production design by Mark Friedberg, known for Wes Anderson’s “The Life Aquatic with Steve Zissou” and Charlie Kaufman’s “Synecdoche,” New York; most recently last year’s “If Beale Street Could Talk,” and the costuming by Academy Award winner Mark Bridges, “Phantom Thread,” set the atmosphere of a grungy and impoverished Gotham. The city feels lived-in and gross. The make-up work on Phoenix is especially great. They create a unique visual look for the Joker.
The score by Hildur Guðnadóttir is brilliant and dower. It made me think of the work of the late Jóhann Jóhannsson. Only after the fact did I learn she is a cellist who has appeared as a soloist in all of Jóhannsson’s collaborations with Denis Villeneuve.
She also soloed on the score for “The Revenant” and composed the score for Tobias Lindholm’s “Kapringen” (A Hijacking). Her score here is sparse and haunting. The loud and imposing cello is great and memorable. Her work is wonderfully complemented by the sound mixing work of Tod A. Maitland and his colleagues.
The soundtrack is also good and knows exactly what songs to reinforce the mood. The most memorable piece for me was Frank Sinatra singing “Send in the Clowns.”
My favorite scenes were the bathroom dance and the Murray Franklin Show sequences. They feature great performance work and mood. They also feature Fleck when he is not constrained by anything.
The film takes place in 1981 and feels like the New York City of the late ‘70s. The city is plagued by a layer of grime that exists because of a sanitation worker strike. This sets up the environment of Gotham. The lower class feels unrepresented and actively abandoned by the rich elite.
This is the background of Fleck’s journey as he is isolated, but it is a sentiment that he can empathize with. This high social tension has been compared to the current American culture and I can understand why. There are likely many regions of the United States that have the danger of rioting.
There is a nod to this cultural reflection and story in the film itself. There is a sequence that takes place at a high-class social event where the rich elite of Gotham gather together to watch Charlie Chaplin’s “Modern Times.”
Specifically, we see the scene in which Chaplin’s Little Tramp (a personification of the impoverished, working-class little-man) is roller-skating next to a precipice. Theses elites laugh as the Little Tramp gets closer and closer to the brink and his doom.
Touches like this make me enjoy this film more every time I think back on it. This is a film that I love and most definitely do recommend… with a heavy asterisk. This film is a dark drama that deals with mental health, class warfare and violent outbursts. The film is rated R for strong bloody violence, disturbing behavior, language and brief sexual language.
This film is unsettling and features realistic depictions of the descent into madness and graphic violence. If any of these things might bother you or trigger a reaction, do not see this movie.
I want to support this film, but I also want to make sure people are aware of what they are in for. These things did not bother me too much, but I am aware of their power. I do love this film because of its serious tone and the conversations it will spark. I will give “Joker” a 95%.
