Counter Culture

961 words, 5 minutes read time.

‘Joker: Folie à Deux’ boldly reimagines the DC universe through the lens of a jukebox musical. It intertwines a collection of classics from The Great American Songbook and 1960s international pop. Lady Gaga as Harleen Quinzel and Joaquin Phoenix as Arthur Fleck deliver nuanced and powerful performances. They create a dark yet captivating atmosphere.

The music in “Joker: Folie à Deux” plays a pivotal role in shaping the film’s atmosphere and driving its narrative. This format weaves together pre-existing songs with original score pieces. Together, they create a unique cinematic experience.

The film’s music is described as being knitted into the troubled ebbs and swells of Hildur Guðnadóttir’s score. It maintains a consistency of tone that is unusual for a jukebox musical. The seamless integration of songs supports the film’s elaborate fantasies. Arthur and Harley engage in lavishly staged musical numbers. These sequences pay homage to classic acts like Fred and Ginger, Judy Garland, and even 1970s TV variety shows. They add layers of nostalgia and depth to the character’s interactions.

The choice of songs is not random; each track serves to underscore the emotional and psychological states of the characters. For example, “What the World Needs Now Is Love” plays during a love story arc. This emphasizes the film’s underlying message about the need for compassion in a chaotic world. Meanwhile, the inclusion of “Slap That Bass” nods to the influence of Fred Astaire on the Joker’s character. It’s originally from the 1937 film Shall We Dance. It reinforces the film’s connection to its roots in dance and performance.

The musical elements of “Joker: Folie à Deux” offer a departure from reality. They allow the audience to explore the inner workings of Arthur’s mind. The songs become a vehicle for expressing the characters’ desires, fears, and fantasies. They provide a stark contrast to the grim reality of their circumstances.

The musicality of the film is striking, with both leads showcasing their vocal talents in a range of contexts. Their “real-life” moments show a low-key authenticity. Their shared fantasies erupt into full-throttle belting. This belting resonates with the emotional stakes of their characters. This duality is particularly engaging. We see Fleck and Harleen navigate their tumultuous lives. They dream of an idyllic and glamorous escape. It is reminiscent of the variety shows of yesteryear. Think of a twisted version of “The Sonny & Cher Comedy Hour.”

The music in “Joker: Folie à Deux” is not just an addition to the film. It is an essential part that enriches the storytelling. It bridges the gap between fantasy and reality, enhances character development, and contributes to the overall enjoyment of the film. The soundtrack’s careful curation creates a musical experience. The actor’s performances resonate with the audience long after the credits roll.

Yet, the film deviates from traditional musical storytelling. The narrative is punctuated by chaotic moments. These often feel like mere distractions from the deeper emotional currents. Fleck and Harleen are neither sympathetic nor relatable; rather, they embody the grotesque reality of a Gotham devoid of heroes. Even Harvey Dent is stripped of any heroic qualities, emphasizing the pervasive darkness of their world.

One significant disappointment lies in Fleck’s reluctance to fully embrace his Joker persona. While the film hints at his potential for chaos and anarchy, it often pulls back. We find a character who seems more like a victim at times. He is shaped by his circumstances rather than the iconic villain we expect. This missed opportunity is palpable. The Joker’s embrace of madness offers a compelling contrast to the bleakness surrounding him. It also stands as a defiance against it.

The film’s lack of exploration into the complex dynamics between Gotham’s citizens and the Joker presents a missed opportunity. It could have delved deeper into the narrative. The Joker is a character often seen as a villainous murderer. Strangely, he garners love and support from a certain faction within Gotham. This paradoxical admiration raises intriguing questions about the societal undercurrents that resonate with his anarchistic philosophy.

Why would a society identify with, and even celebrate, a figure known for chaos and destruction? This conundrum could have been a focal point for the film. It could have offered a profound commentary on the current state of our society. It suggests a collective disillusionment with the status quo. There is a subversive craving for change, regardless of the moral ambiguity of the means to achieve it.

The film missed an opportunity by not delving into these themes. It could have elevated the narrative to new heights. This would have presented a darker, yet more introspective look at the human condition. It would have probed the audience to reflect on the societal constructs that shape our perceptions of morality and justice. Moreover, it would have provided a mirror to our contemporary world. Often, personal and societal struggles blur the lines between heroism and villainy.

Such an exploration would have enriched the film’s storyline. It could have sparked a broader conversation about the complexities of human nature and societal norms. It’s a narrative path with the potential to leave a lasting impact on viewers. It would have prompted them to ponder the intricate and fragmenting layers of our social fabric.

‘Joker: Folie à Deux’ is a daring and ambitious film that challenges conventional storytelling through its musical format. Both Gaga and Phoenix pour their hearts into their roles. But, Fleck lacks a sympathetic arc. Additionally, the portrayal of the Joker persona is underwhelming. These issues leave the film feeling like a half-formed vision. Ultimately, it’s a haunting exploration of love and madness. The film offers moments of brilliance. Still, it may not give enough resolution for those yearning for a deeper connection to its characters.

By Pat Harrington