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“Joker’s Odyssey” (A Film Review) by Adam Wękarski

“Joker” is one of the most psychologically complex & artistically provocative films ever made. Todd Phillips directs his best film to date (commonly known for his work in directing comedies) in a staggering contrast to his typical work. This film is undoubtedly Phillips’ masterpiece. This film takes a gigantic leap forward in the direction that Christopher Nolan & Heath Ledger’s Joker had initiated 11 years ago in “The Dark Knight.” This movie is an enigmatic tragicomedy that pulls no punches.

Joaquin Phoenix deserves an oscar for his performance as the lead character. Count on Joaquin-frikkin’-Phoenix to be the only other actor who could not only meet Heath Ledger’s ground-breaking performance, but challenge it with a bold & fearless flair. This is the best picture of the year and absolutely deserves an oscar for directing, writing & cinematography.

Phoenix plays Joker a.k.a “Arthur Fleck”, a struggling Street-Performer/Comedian/your all-around Party-Clown who lives in a bleak and morally-crumbling fictional Gotham City, USA (set in 1981). Highly reminiscent of New York City in the late ‘70s/early ‘80s (apparently where the director Todd Phillips grew up), there is an overwhelmingly oppressive structural presence of the city throughout the entire film (with some of the most breath-taking wide shots) - which has the ability to create a legitimate sense of isolation (and claustrophobia).

Immediately into the story, we know that Fleck clearly has some form of severe emotional instability (while struggling in a post-vaudevillian world which is a creaky ol’ memory fading of a bygone era of performers & entertainers). Despite the overwhelming struggle that is Arthur’s existence - Arthur trudges on, beaten down, and continues dancing his dance and putting on a show for everyone & no one. The only times that Arthur Fleck appears to have any form of happiness is when he is performing & dancing as “Carnival” The Clown working for an entertainment agency known as “Ha Ha’s”, and when he is at home spending time with his mother. Arthur Fleck’s journey throughout the story is not only about his life’s struggle, but his eventual demise and fall from grace.

While Arthur climbs the seemingly infinite stairway each day in his life, the weight of his problems become clearly visible on his shoulders - as he resembles the factory workers in Fritz Lang’s “Metropolis” striving upwards with futility. Fleck has literally been taking a beating in his life, and he does eventually transform (due to a tremendously slow-burning tension that carries throughout the entirety of the film) into the larger-than-life villain at the end of the story (which is the crucial moment Joker truly becomes a symbolic figure of anarchy).

Technically-speaking - this film is shot perfectly (with a heavy tone reminiscent of a graphic novel). From larger-than-life exterior wide shots that truly showcase just how small Fleck is in the grand scheme of the city to extremely tight interior shots that allow access to intimate moments with one of the most twisted & insane characters of all time (perfectly portrayed by Joaquin Phoenix). The story, an original, was written by Todd Phillips & Scott Silver who had made the conscious effort to bring an entirely fresh take on one of the most celebrated (and revered) characters of the comic book world (and now film world) to the big screen. In terms of the story - it is the best origin story of the Joker by far, successfully achieving a level of sophisticated storytelling to the point that it actually transcends the genre and becomes a truly remarkable artistic effort of genius that has cinematic elements similar to the likes of Kubrick, Scorsese & Malick (particularly in terms of artistic bravado).

Speaking of Scorsese, “Joker” has the uncanny ability of concealing it’s influences while simultaneously paying homage and informal tribute (I suppose more of an artistic ‘tip of the hat’ to a plethora of cinematic influences). There are plenty of hints & clues for any familiar film-lover (especially a few obvious nods to Heath Ledger’s Joker, although more of a precursor of where that Joker could have possibly originated). For instance, anyone who has seen “Taxi Driver” will automatically draw parallels between the slow, yet inevitable, unwinding & downward spiral of the protagonist (of whom lives in a city that is slowly unraveling at the sociological seams, so-to-speak - which, in turn, is a reflection of the mental stability of the main character as he continues his journey) - Especially when Zazie Beetz’s “Sophie Dumond” encounters Fleck in an elevator and points her fingers towards the side of her head, which Fleck later does to himself (an obvious nod to De Niro’s character “Travis Bickle” in “Taxi Driver”).

Robert De Niro (one of the finest actors of all time) even appears in the film as a very important character by the name of “Murray Franklin” of whom has his own live late-night television talk show. Arthur Fleck is a huge fan of the Murray Franklin show and even fantasizes about being on the show and interacting with Murray Franklin on live television for the whole world to see. Arthur Fleck is obviously obsessed with the notion of becoming famous and celebrated and adored - something he certainly is not in his real everyday life. De Niro’s performance of Murray Franklin is an ironic nod (and inversion) of his performance as “Rupert Pupkin” from Scorsese’s “The King of Comedy” in which De Niro had played the overtly-unrealistic stalker of a late-night TV personality (played by Jerry Lewis) - which is, of course, a brilliant full circle moment for De Niro now playing the big shot entertainer.

Arthur Fleck’s obsession with Murray Franklin is one of many story arcs within the psychologically-labyrinthian tale of how the Joker was born. While portraying Fleck, Joaquin Phoenix has a look reminiscent of the killer “Scorpio” in “Dirty Harry” (played frighteningly by one Andrew Robinson) with the 1970s-friendly shaggy-locks and brown slacks and large-collared attire. This entire film is a herculean psychological character study on Joker and it’s without saying that this is in no way a family-friendly version of the character. The Joker kills three men on a subway in self-defense (after the three Wallstreet men harass a woman and then physically attack Joker). This film lives and breathes in the proverbial gray area of right & wrong and good & bad (which is a part of it’s terrifying genius).

The film’s music also appears as it’s own character (in a way) throughout the film  - acting as a spiritual extension of Joker’s mental & emotional state (as Joker appears to have music consistently flowing from within and exuding outwards with each crucial moment that happens in the story). After Fleck’s first murder in the subway, he runs and hides in a public restroom and begins to dance to his own symphony of psychosis as he stares into his reflection (as Joker; his split personality; his other half, alter ego, etc.). The musical score is just as unsettling & schizophrenic as the Joker, and the film perfectly embodies all of the most defining attributes of what makes Joker so very fascinating (and frightening).

Joaquin Phoenix’s powerhouse performance stands alone, mighty on it’s own two feet, while Todd Phillip’s care for the character and his dedication to present the character as a real human being is unmatched in it’s sophistication & artistic bravery (with exception of perhaps the Nolan trilogy - God, if only this version of Joker was in the third installment for The Dark Knight trilogy - could you imagine Joaquin Phoenix opposite Christian Bale? - OH My - or perhaps even see where this Joker storyline would dare venture if given the opportunity for more exploration). Joaquin Phoenix had allegedly stated that in researching psychological disorders and real-life behaviors that people actually have - he did not want anyone who is educated in the field of study to be able to pin-point Joker’s psychological “condition” or “symptoms.” Phoenix successfully accomplishes such a feat as Fleck/Joker due to the character’s ever-changing (and constantly-developing) madness amidst his life in this origin story.

This film is a very, very intense tragedy whose psychological depth goes well beyond the screen.

Arthur Fleck/Joker is a care-taker of his own mother, Penny Fleck (played very well by Frances Conroy). Penny begins the story as a seemingly sweet-hearted mother who is ill and in need of some form of help or assistance - of which Arthur does his best in providing (as her only family). As the film progresses, we find that Penny had been a former employee working on the estate of one Thomas Wayne (played very well by Brett Cullen) and she expresses her assurance to Arthur that Mr. Wayne wouldn’t allow them to live in their current conditions had he been aware of their struggle.

Arthur loves his mother very dearly (in a Norman Bates ”Psycho” kinda way), and despite his efforts to nurse her - her condition gets worse, and then the story truly takes a dramatic left turn into an unsettling reveal of the hidden, murky depths of not only the Joker’s life, but his overall psyche. Specifically, when Arthur discovers the truth about his life and the harsh trauma he had experienced as an adopted child with a psychotic mother, who carelessly stood by while Arthur was severely abused (while also discovering he had been an abandoned orphan before Penny adopted him) and would apathetically allow the abuse to thrive.

Arthur Fleck’s psychological abyss is interwoven within Arkham State Hospital (a mental institution primarily focused on abnormal psychology and psychiatric rehabilitation). The emotional and mental state of Arthur is at the forefront of the film, as Arthur frequently discusses his mental & emotional well-being with a social worker (played very well by Sharon Washington), who eventually loses her job as well as her department due to government cutbacks and lack of funding. The loss of all of his medication gives Arthur’s unusual condition(s) of uncontrollable laughter at any given time (which comes handy with a card to address anyone of said condition) a significantly more off-putting presence. This is especially true due to the reality that his unique condition merely scratches the surface of what is looming underneath (which appears to be an eclectic & deadly combination of a potential variety of psychological disorders including: post-traumatic stress disorder, anxiety, paranoia, delusional disorder, manic depression, schizophrenia, in addition to possibly having some other forms of personality disorders and/or possibly even a form of undiagnosed autism).

In one of the most iconic moments in cinema, the Joker dances down that same infinite stairway as before (with a Ray-Bolger-like air of arrogance), now in full Joker fashion, experiencing a complete liberation of the weight he once carried on his shoulders as Arthur Fleck. This is a moment that not only represents Joker’s infinite dance of madness, but also symbolizes Arthur Fleck’s tragic descent into hell.

This film is more disturbing than it is violent. What’s so disturbing is that this is the most realistic depiction of the Joker and how a human being could become a product of one’s environment (in the worst way). I think this film has successfully struck a chord with contemporary society (worldwide), despite the film being a complete fictional story based off of a comic book character, set in another time - there is a significantly realistic undercurrent of honesty shouting loudly in the film in a tone very similar to Howard Beale’s epiphany in Sidney Lumet’s astounding masterpiece “Network”(1976); albeit a bit more deranged (especially once Joker actually goes on live television and scolds Murray Franklin regarding his continual debasement of Arthur Fleck for the sake of entertainment). Joker speaks openly on live television about how he had been the one who murdered the three Wallstreet men in the subway. It is at this point in the journey that Joker is viciously taunting not only the host Murray, but also expressing the cold & harsh reality of the overall system being an institutionalized failure. The Joker has no political agendas, nor financial, or even ambitions within show business anymore after the onslaught of life experiences that have transformed him and tragically removed his innocence.

Joker was once a man who genuinely wanted to bring joy & laughter to the world and perhaps if someone was there to hand him a book or a guitar instead of a gun in those crucial “in-between” moments in life, or if he had someone in his life who actually loved & cared for him and would be there for him - maybe it could have all been prevented. If Arthur Fleck had positive reinforcement in his life, and perhaps Faith, maybe he would have turned his frustration into inspiration rather than a maniacal form of self-destruction. The same could be said about any one individual in our very own reality (especially considering the highly unusual rate of violent, self-destructive behavior in America as we know it).

It is after the Murray Franklin Massacre that the Joker is truly “reborn” as he has officially become an abstract figurehead for the downtrodden of society. The same part of society which has had enough of the ugly side of the system and the overall tragedy of humanity’s indifference & ignorance towards the ones who struggle with the weight of the system on their shoulders (while looking up at the ones who have been riding upon humanity’s shoulders for far too long). Joker’s “birth” comes from a symbolic “death” so-to-say of Arthur Fleck as he’s in a severe car accident and carried out by his followers and attains a distinct level of martyrdom. Joker’s tragic destiny is to reign in hell rather than serve in heaven (which is the symbolic dilemma of humanity; hence the inception of Batman in the film, as a young Bruce Wayne’s parents are murdered due to the chaos Joker has sparked - a moment that successfully calls back to Tim Burton’s “Batman” flashback with the movie theater & flying pearl necklace and all).

“Joker” is a highly visceral artistic statement that has a brutally honest hidden social message: society must not fail the very humanity that fulfills it. The madness of one can spark the madness of many - and in any case - we may need to create a better way to heal our sick & our poor, and we should consider better methods to mend the broken (in mind, body, and spirit) rather than feed into chaos and self-undoing (as individuals and as a whole). If we are capable to view such a mirrored fantasy which has created such a social controversy due to it’s violently philosophical conclusion - are we also capable of improving ourselves, as a society, for the betterment of our very own collective reality?

I give “Joker” a Perfect 10 out of 10. 

Cesar Romero transformed the character from an idea on a page to a villain on the screen.  Jack Nicholson made the character cool.  Mark Hamill gave the performance that most fans resonate with to this day.  Heath Ledger pushed the boundaries of method acting, tainting the character with real life tragedy.  Jared Leto made a mockery of the character.  If the early critical and audience reactions mean anything, Joaquin Phoenix may soon be king of the iconic titular character of his latest film, Joker. 

Aspiring comedian Arthur Fleck (Joaquin Phoenix) spends his days as a clown for hire at Ha-Ha’s, a day-labor company where Fleck floats from gig to gig picking up a fast buck.  After being attacked by a group of kids, Arthur’s co-worker Randall (Glenn Fleshler) gives him a gun so that he can protect himself.  When not working, Arthur cares for his sick mother Penny Fleck (Frances Conroy), who spends her time watching late-night TV host Murray Franklin (Robert De Niro) and writing mysterious letters to billionaire Thomas Wayne (Brett Cullen).  After meeting single mother Sophie (Zazie Beetz) and inviting her to a comedy show, Arthur is soon fired from his job when a gun falls out of his pant leg during a performance at a children’s hospital.  While riding home from his firing, Arthur is accosted by three businessmen on the subway, and in an act of self-defense turned murder, he kills all three.  The killing gives Arthur a sense of purpose and self-understanding that he had yet to experience, sending him on a path of chaos and destruction, all in the name of further self-understanding.

Joker is an incredibly unique approach to an iconic character, and a breath of fresh air in terms of a character study in terms of execution.  Due to the history of the Joker character in terms of his clear actions set against his purposely vague origin, we are presented with what I’ve dubbed a ‘front-loaded backstory’, where we are searching for starting points to understand and connect to the Joker moments we know so well.  Much of that is presented in terms of Arther Fleck’s mental disorder that he shares with his mother, his mother’s deception in regards to her connection with Thomas Wayne and Arthur’s familial origins, and how Arthur views society at large.  His laugh is connected to his disorder, his garb and clown makeup is attributed to his former job and comedic aspirations, and his undying connection to Batman is further enhanced due to a purposefully messy origin story.  His nihilistic nature is really what is focused on and explored in Joker, as Fleck learns that his wiring causes him to find pleasure in what should be pain, while simultaneously inspiring many in similar positions to take to the streets in protest of the same things that scare and sadde Fleck. 

The world that Todd Phillips creates was the most fascinating part of the film, in my opinion.  The classic Warner Brothers logo and titling make the film feel old, as well as the color timing and some of the costuming, but there are many modern day elements present as well, like the Wayne subway system or the graffiti found throughout the city.  Gotham and Arkham Asylum are both mentioned directly, but there are many heavy allusions to New York as well : the sanitation workers strike, the rat epidemic, and Fleck’s bizarro-world Donald Goines style killing all echo New York more so than fictional Gotham.  Wall Street is even mentioned directly in regards to the three Wayne Enterprises workers.  There is also a nice mix of direct and indirect (in my opinion) references to a handful of films... Taxi Driver and You Were Never Really Here need no explanation, nor does The King of Comedy (which works subtly due to the Fleck character, and directly due to Robert De Niro appearing in both films).  Some of the more unique references, however, are found when we take a closer look at Fleck... his connection with his mother and their fascination with TV gave me Requiem for a Dream feels.  His delusional nature and the way he projects his thoughts onto the world felt similar to Jacob’s Ladder at times.  Even Fleck’s self-aggrandizing dances, specifically the one he does in the bathroom after finding his power in the wake of killing the Wayne Enterprises workers, gave me feels of John Cusack’s dance he does for Catherine Keener after bedding her in Being John Malkovich.  All of this texture, combined with the blurring of lines between Gotham and New York, is really what makes this film work.  

On a technical level, this film is an astonishing achievement for Phillips, and one that shows incredible growth as a director.  The dark, reality-based humor from some of his lighter films is present, but the laser focus on it puts it front and center as the driving force that inspires his Fleck character.  The brooding score is offset by unique, upbeat music cues, bringing a manic-depressive feel to the soundtrack of the film.  Phillips uses EXTREMELY subtle touches to differentiate between Joker’s real and delusional moments, but the subtlety is so nuanced that it is not always immediately obvious in regards to the nature of what we’re seeing.  Joker’s wardrobe and makeup dance around the traditional presentation of the iconic comic and film character for the majority of the film, eventually landing on something that is close enough to the standard presentation, while still being unique to the world created by Phillips for Joker.  The textured city, as well as the unclear time/era of the film due to allusions to real moments in New York history, gives the narrative an uncanny valley feel while we search for something distinguishing to hang onto the film in terms of era and location. 

While many have been surprised by the depth of Joaquin Phoenix’s performance, it seems to me that he channeled the best parts of his performances in The Master and You Were Never Really Here in order to hone on in the troubled persona that alludes to the creation of the Joker.  Robert De Niro brings the charm of a late night host and comedian that translates into a sort of fatherly inspiration for the Fleck character, paralleling the characters as diametric opposites, and fueling the fire for their eventual meeting.  Frances Conroy is a living mirror to hold up against Phoenix in terms of the troubled mindstate he portrays, and the possibility/inevitability of his future.  Zazie Beatz is used mostly in an accessory manner, but her presence helps stir the pot of confusion in terms of reality and delusion, based on her demeanor.  Brett Cullen brings a darker, sinister and less humane feel to the Wayne patriarch, symbolizing human greed and power more so than class and admirable qualities.  Glenn Fleshler allows himself to wallow in a swinging, two-face nature that sways from ‘friend’ to ‘foe’, sometimes within the same conversation, towards the Fleck character and his coworkers.  Bill Camp and Shea Whigham get to dive into the old school NYPD detective energy, channeling films like The French Connection despite their small role.  Brief appearances by Marc Maron, Leigh Gill, Josh Pais, Brian Tyree Henry, Douglas Hodge, Bryan Callen and Justin Theroux (uncredited) round things out.