Joker Movie Review: DC Comics and Taxi Driver are a Match Made in Heaven
A film that somehow managed to stir up controversy before it was even released, with some fearing it may inspire violent crime, Joker certainly delivers on being a though-provoking and at times, disturbing film. But the question is, does it deliver on the hype that has been building for so long and has now reached fever pitch? Or is it merely another attempt by a studio to cash in on a popular character with a dark, bleak tone and R rating that seems to be becoming ever more popular in comic book films these days? At times, the audience may not be sure what to think, but this film’s intention is to incite discomfort and it accomplishes this beautifully.
Arthur Fleck is a lonely soul adrift in a cesspool of crime and decay that is Gotham City, bullied relentlessly at his work for his lack of social graces and tendency to laugh uncontrollably at the exact wrong moments. These fits of manic laughter are actually brought on by a neurological condition he cannot control, meaning it is an involuntary nervous reaction to stimuli he finds upsetting, adding a new element of tragedy to arguably the most recognisable motif of the character.
Arthur’s one comfort in life is his ambition in stand-up comedy, although one scene early one perfectly and succinctly demonstrates he is fundamentally out-of-touch with standard audience expectations of humour. We occasionally get to see into his “joke” book, which offers a glimpse into a disturbed mind, and probably some of Phoenix’s method acting process. The other thing that gives Arthur’s life meaning is his relationship with his mother, which is touching at times, unnerving at others and ultimately tragically twisted. It’s extremely hard not to feel sorry for the protagonist as he is constantly beaten down by those around him and can’t seem to catch a break until he finally snaps in a sudden outburst of violence. The scene is highly influenced by Michael Winner’s Death Wish, starring Charles Bronson and represents a defiant stand by a marginalised and deeply troubled man against an unjust and corrupt society.
From here, the film really switches gears and Arthur’s psychological decline into the seventh circle of hell steepens, until he finally becomes the iconic clown prince of crime we all recognise. It’s strongly suggested that Arthur will go on to become something of a leader of a mass clown movement of Gotham’s disenchanted lower class, which honestly stretches one’s suspension of disbelief. The Joker is inherently an unstable character, but Phoenix’s version is the kind of guy who just feels a little too unstable to competently plan and execute terrorist attacks and criminal schemes like Ledger or Nicholson. This is not a criticism per se, and while comparisons are inevitable they are misguided. Phoenix’s Joker is different to anything audiences have seen before, which is a huge positive about the film making its interpretation of the Joker more original and realistic.
Phoenix is masterful in the role, often making you sympathise with him one moment and utterly disgusted the next. From start to finish, he sells Fleck’s shy and despondent persona with the same sense of confidence and empowerment he exudes when he finally adopts the mantle of the Joker. There’s been plenty of Oscar-buzz around his performance and while I can see him getting a nomination, I personally don’t think the film will win or be nominated in any other category. He’s joined by a fine cast on top form, including Robert De Niro, who at first is painted as something of an oily, uncaring comic, yet manages to come across as oddly likeable in a final, gripping scene in which he witnesses Arthur’s madness unleashed for the whole world to see. Zazie Beetz is great as a would-be love interest who is sadly underused. While there is a brilliant Fight Club-esque, unexpected twist in her character’s story, through no fault of Beetz as an actress, her part in the film ultimately falls flat and feels underdeveloped.
Joker is a film with a myriad of influences on both the gritty visual style and titular character which it wears on its sleeve, only exceeded in number by the possible interpretations you could walk away from the film with. Martin Scorsese was initially tied to the project and the film makes several nods to his films, namely Taxi Driver and The King of Comedy. The way Phoenix dances shirtless around his apartment, brandishing a pistol, talking to himself and stalks a female character he hardly knows is very similar to the unhinged behaviour of Travis Bickle. In his desire to be a stand-up, Fleck almost symbolises De Niro’s role in both Scorsese films combined. When all hell breaks loose towards the end, a simple song choice even calls Goodfellas to mind.
Ultimately, there is a poignant message about how we treat those we perceive as different or weird, and asks if we really provide them with enough care. Arthur is an outcast but not necessarily bad to start off, but the film leaves it down to interpretation just how far his eventual snap is the doing of society, or his own demons. He’s definitely a lonely outcast, but it’s not entirely his fault as almost everyone he meets is rude or violent towards him. This film depicts what can happen when someone reaches the end of their mental rope with brutal consequences. In true American Psycho style, we don’t know just how much really happens or takes place in the character’s head. This is exactly how a film about the Joker should be: unashamedly ambiguous and wearing it as a label as proudly as Fleck wears his clown makeup and outfit by the film’s close.
Finally, the controversy surrounding the film must be addressed. In no way does it glorify the actions of the main character. The viewer is not invited to root for Fleck, and his destructive actions are not presented heroically or glamorously, nor does the film attempt to morally justify them. Joker is a fantastic, well-made and well-acted film that breathes some much needed new life into comic book related films and sure to become a staple of the genre.
