Joker (2019) Movie Review – Reflecting Society’s Alienation and Despair through the Rise of a Supervillain

“All I have is negative thoughts,” says Arthur Fleck – a self-pitying, unfunny clown who dreams of being a standup comedian. Joker is one of the most iconic cultural icons of our era. As part of DC Comics, his story has been told, retold, imagined, and re-imagined. Everyone interprets him differently. While Nolan’s Joker was a nihilist who just likes to see the world burn in “Suicide Squad,” he was showcased as a glamorous mafia Mob. Todd Philips’s “Joker” is an origin story. It traces his descent to madness. However, even this has been done before. The Killing Joke” was a brilliant film adapted from the comics, and that’s where you tap into the psychology of a character like Joker.

He’s multilayered and a master of deceit. So, while the “Killing Joke” tells you it was the death of his wife and the unborn kid that made him go mad, the Joker in “Dark Knight” would give you multiple stories about his scar. Unlike Batman, a character like Joker allows you the freedom to play with his character, not just his philosophy or character but even his origin.

Todd’s “Joker” isn’t like any other. He is allegedly a freak, a clown. He didn’t fall into a chemical pond. His physical deformities are his internal battles. He’s the modern-day reincarnation of Travis Bickle. But set in the world of Scorsese’s “King of Comedy.” The references are apparent. Both characters are mentally disturbed. They both want to be stand-up comics and are obsessed with a Popular Host/Comedian. The fact that, in this case, De Niro transforms from an obsessed fanboy to the object of obsession gives it a surreal touch.

Arthur Fleck isn’t a maniacal killing machine. He is a depressive loner who still lives with his mother. Arthur laughs hysterically under stress. He gets beaten and is often abused for being weak. The wind could blow away his skeletal figure. Despite that, he dreams of making people laugh, although even his mother finds him unfunny.

The world around him is full of rubbish and rats. The world is rude and lacks empathy. Everyone seems to lie, and no one has time for people like him – the ones referred to as ‘clowns’ by the snobbish Thomas Wayne, a billionaire running for Mayor. His lack of empathy towards the commoners, the people he wants to vote for him, is patronizing and elitist. It’s a classic case of those who provided means of production looking with contempt towards those who worked for them. As the right-wing forces are sweeping across the world, the Marxist undertones clearly hint at megalomaniacs like Trump.

When Thomas and Arthur briefly meet, Wayne can only imagine that the man would be asking for an autograph or money. In his head, those are the only two compartments where clowns like Arthur can fit: a fan or a fraud, someone who’s inspired by his riches, or someone who is jealous and wants a part of it. If the man doesn’t fit in either, he must be a freak, a madman who needs to be punched and ignored.

Arthur Fleck isn’t concerned about money. He’s not even political. He’s not trying to change the world or start a revolution. All he wants from the world is a bit of respect. Why doesn’t anyone have “basic decency,” he inquires at a time when every institution is collapsing? He wonders if it’s getting more chaotic out there or if it’s just in his head.

In an era where Isolation and alienation are common. It is a time when suicide rates are skyrocketing, and more and more people are getting on medication. This film tends to represent an entire generation. A generation that’s thirsty for love, a paternal hug, maybe. A generation that’s trying to embrace being different without being mocked, a generation that fails to understand the insensitivity of those who expect people with mental illness to behave, a generation that wants to be “heard. It’s a generation that wants you to acknowledge your privilege instead of being condescending to those who didn’t reach your position of power and prestige; not everyone has Wayne Enterprise; some people live in shitty homes.

Also, Read – Todd Phillips’s Joker (2019), Already a front-runner for the Oscars

There can be people who might feel that this glamourizes and maybe endorses violence, and to be fair, it does, but if you decided to watch a film based on Joker, what else were you expecting? A redemption story where he ends up asking for forgiveness? Also, while anarchy and revolution form a theme, just looking at the film from the prism of violence fails to understand the film’s subtleties and all the relevant subtexts. If the justification of violence were the focus, they wouldn’t have focused mainly on human fragility. As you know, unfulfilled dreams could lead to delusions.

The biggest strength of this film, and one recognized by the director and his cameraperson, is the man behind the mask. More than the plot or philosophy, this film is driven by Joaquin Phoenix’s bravura performance. He gets into the skin of the character and makes it his own. The camera seems to romance the actor. It captures every nuance of his mannerisms. The character allows Phoenix to make full use of his body. Every muscle of his face is in action. He has so much control over his movements that they’re dancing to his tune.

Whether it’s flaunting his skinny ribcage, violently shaking his legs to laugh hysterically, or making clown faces to elicit laughter, he feels like a possessed man. Watch out as he’s sitting in his room, and his dwarf friend wants to leave. He shocks, he empathizes, he laughs, and he erupts. He shows an entire gamut of emotions in one scene. I mean, just look at him when he’s with the therapist, and he’s laughing uncontrollably while crying simultaneously.

It’s fascinating to see him twist and turn from a subdued skinny clown to a deranged predator and back to a docile, sympathetic man. He’s incredible and deserves every award that will come his way.  The way he has tapped into his internal rage while maintaining a sort of innocence reminds you of how this Man can go from a film like “Her” to a movie like “Master” – and does them both impeccably. He plays his ‘Joker’ like a scenic landscape built on top of a dormant volcano. It’s beautiful and gentle. It’s meant to make people smile, but when people exploit it, the lava sitting silently inside the heart of the Volcano finally erupts, and the explosion burns everything down. That’s when the world notices that it’s still hauntingly beautiful for those who weren’t in the line of fire.

Maybe a hug would have saved the City.

Check out the Trailer

Joker links – IMDb, Rotten Tomatoes