By Chauncey K. Robinson
The DC Comics villain Joker is in no way, shape, or form a hero. On the surface the psychological thriller that explores his origin story could be seen as a glorification of a deplorable character with a long list of victims. Does the movie manipulate the viewer into sympathizing with a man descending into madness? Not exactly. Although the film walks a fine line between exploration and validation, Joker is ultimately an-in-your face examination of a broken system that creates its own monsters. It’s a gritty and morbidly beautiful journey with little comfort to spare, but many messages to mull over.
Directed by Todd Phillips (The Hangover Trilogy) who co-wrote the screenplay with Scott Silver (8 Mile), the film is produced by DC Films, Village Roadshow Pictures, Bron Creative, and Joint Effort, and distributed by Warner Bros. Pictures. It stars Joaquin Phoenix (You Were Never Really Here), Robert De Niro (Taxi Driver), Zazie Beetz (Deadpool 2), and Frances Conroy (Catwoman).
Joker takes place in the fictional Gotham City (similar to New York City) in the year 1981. The country is going through divisive and rough political and economic times. Arthur Fleck (Phoenix) is a man who suffers from mental illness attempting to begin a stand-up comedy career with failed results. He struggles with earning a living, taking care of his sick mother, and functioning in a world where he is often ostracized and marginalized. Arthur will eventually lose his battle with being ‘normal,’ but before then viewers are taken on a journey of how this came to be. For two hours we bear witness to a tragic breakdown, not only of Arthur but of the society he belongs to.
The most obvious highlight of the film is the performance by Phoenix. The actor plays Arthur with nuanced layering. He’s already a broken man trying to function like he’s whole. Phoenix does well not to portray Arthur like a completely innocent character who is merely a victim of circumstance, but at times one that relishes in the darkness always right beneath the surface. He makes clear choices, and doesn’t outright try to compel the viewer to like Arthur, but to see him as a real person. Arthur is not a caricature or one dimensional would-be villain. He’s not a villain at all really in the beginning, but a person who has highs of joy, lows of sadness, and conflicting feelings over which path he should ultimately take. Phoenix conveys all of this in an engrossing way.
The less obvious, but perhaps the most compelling, aspect of the film is the interweaving of class politics and social commentary. Phoenix gives a great performance of someone on the brink of insanity, but by placing his downfall in the larger context of systemic ills of society, a more resonating story is told. Arthur is both victim and villain at different times under a system that can push many people to their breaking points.
It seems purposeful that the film begins the origin story in 1981...
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