There is an aura of Shakespeare emanating from “Joker: Folie à Deux,” the much-anticipated sequel to Todd Phillips’ critically acclaimed Joker (2019). Arthur Fleck, portrayed by Joaquin Phoenix, returns in a hauntingly familiar yet uniquely twisted tale set within the grim confines of Arkham State Hospital. Here, Arthur—once a party clown and aspiring stand-up comic—awaits trial for the murders that captured the attention of a nation, including the notorious on-air killing of talk show host Murray Franklin (Robert De Niro).
Echoing the existential torment of Shakespeare’s Hamlet, Arthur finds himself betrayed by his mother, which leads him down a path of relentless violence and chaos. Instead of stalking the ramparts of Elsinore in inky clothes, Arthur roams the corridors of his mind, draped in his motley colours and carmine smile, delivering soliloquies in the multiverse of his disturbed psyche.
Two years have passed since Arthur’s Joker persona roused the marginalized masses to demand justice through violent upheaval. The newly elected Assistant District Attorney, Harvey Dent (Harry Lawtey), is resolute in his mission to bring Arthur to justice. However, Dent’s ambition taints his altruism; he knows that the sensational trial, broadcast live, could significantly boost his profile.
In the institution, Arthur navigates his own fractured worlds, playing along with the taunts of guard Jackie Sullivan (Brendan Gleeson) while interacting with fellow inmates, including a young man (Jacob Lofland) who is fixated on Arkham’s most infamous resident. Arthur’s routine shatters when he encounters Lee (Lady Gaga), a patient in the music therapy class. Their instant connection sparks when Lee confides that she grew up in the same neighbourhood as Arthur and suffered under her own mother, who committed her to Arkham for setting their home ablaze.
As Arthur’s trial commences, Lee escapes the institution and galvanizes a movement supporting him. During the trial, Arthur confronts spectral figures from his past, including his former neighbour Sophie Dumond (Zazie Beetz), a figment of Arthur’s belief in a relationship that never existed, his kind-hearted clown co-worker Gary (Leigh Gill), and his social worker (Sharon Washington).
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Initially envisioned by director Todd Phillips as a standalone masterpiece, the transition to a musical sequel—allegedly at the suggestion of Phoenix—proves a stroke of genius. The film opens with a breathtaking animation sequence, a bold deviation that maintains the original’s themes of disassociation, isolation, and critical societal commentary. Musical numbers composed by Oscar-winner Hildur Guðnadóttir offer a lush, jazzy, and visually stunning reimagining of jukebox classics, inviting audiences to lose themselves in this aurally delectable new narrative layer.
Joaquin Phoenix delivers another mesmerizing performance as Arthur Fleck/Joker. His skeletal frame, with its visible spine and protruding shoulder bones, remains painfully disturbing, yet audiences find their attention irresistibly drawn to his ravaged face. His eyes glitter with a dangerous mix of impending chaos and fleeting kindness, and his trembling, exaggerated smile further complicates the character’s terrifying allure. In comparison, Lady Gaga’s performance is unexpectedly subdued, even without juxtaposing it against Margot Robbie’s iconic take on Harley Quinn.
While Joker: Folie à Deux may not achieve the tightly woven narrative complexity of its predecessor, it offers its own unique rewards. Lawrence Sher’s cinematography lovingly captures Phoenix’s masterful performance through languid, contemplative takes. However, the sequel suffers from some narrative looseness, particularly in the second half, where the plot feels stretched thin.
Despite its shortcomings, the film’s innovative fusion of musical elements with a dark, psychological portrait continues to captivate. The interplay of sound, vision, and Phoenix’s unparalleled embodiment of Arthur Fleck/Joker ensures that Joker: Folie à Deux provides a profoundly engaging experience for its audience.
Joker: Folie à Deux is currently captivating audiences in theatres worldwide and will likely continue to provoke discussion and analysis for years to come.
