Acclaimed Hollywood writer-director Paul Schrader, renowned for his script of the iconic film “Taxi Driver,” recently expressed his disdain for the new movie “Joker: Folie à Deux.” The highly anticipated sequel, featuring Joaquin Phoenix and Lady Gaga under the directorship of Todd Phillips, has not lived up to Schrader’s expectations, who stated he couldn’t sit through more than 20 minutes of the film. Describing it as “a really bad musical,” Schrader’s comments spotlight ongoing challenges in the world of sequels and adaptations.
The unveiling of “Joker: Folie à Deux” has been met with significant criticism and negative reviews, positioning it for a challenging run in the box office. According to a report by Variety, the sequel is expected to incur substantial losses ranging between USD 150 million to USD 200 million—a stark contrast to the financial triumph of its predecessor. The 2019 original “Joker” was both a monetary juggernaut and a critical darling, grossing USD 1 billion globally and earning Joaquin Phoenix an Oscar for Best Actor. Thus, the sequel’s underwhelming performance has surprised many in the film industry.
Schrader, whose own work on “Taxi Driver” reportedly served as an inspiration for the first “Joker” film, offered candid remarks during an interview with Jeremy O Harris for Interview magazine. When queried about recent films he had watched, Schrader recounted his brief and less-than-enthusiastic experience with “Joker: Folie à Deux.” Schrader said, “I see who’s coming up. I go to the multiplex. I saw ‘Joker: Folie à Deux’. I saw about 10 or 15 minutes of it. I left, bought something, came back, saw another 10 minutes. That was enough.” His decision to leave the theatre speaks volumes about his perception of the film’s quality.
Harris, amidst their dialogue, expressed his love for musicals, prompting Schrader to compare “Joker 2” to the genre, albeit unfavorably. He stated, “Well, that’s what Joker is, kind of. It’s a really bad musical.
.” Harris probed further, asking what specifically made the film so unpalatable for Schrader. In response, Schrader did not hold back his personal aversions. “I don’t like either of those people. I don’t like them as actors. I don’t like them as characters. I don’t like the whole thing. I mean, those are people who, if they came to your house, you’d slip out the back door,” he elaborated.
Despite the initial hype surrounding “Joker: Folie à Deux,” its world premiere at the Venice Film Festival painted an ominous forecast. Critics have seemingly aligned with commercial performance indicators, as the film recorded dismal earnings of just USD 37 million in its opening weekend.
The buzz that once surrounded the film, based partly on the massive success of its forerunner, has tapered off dramatically. The stark reception contrasts sharply with the anticipation fueled by the original’s achievements. This development has ignited discussions on the risks and pitfalls of creating sequels that must live up to towering legacies. Indeed, Schrader’s forthright critique contributes to a broader discourse on the artistry and execution of musical incorporations within films that traditionally hinge on other thematic constructs.
Moreover, the pairing of acclaimed actors Joaquin Phoenix and Lady Gaga, coupled with Todd Phillips’ direction, initially suggested an innovative exploration of the Joker character. However, according to Schrader’s and others’ judgments, this synergy failed to materialize effectively on screen. The intricate relationship between actors’ portrayals and audiences’ expectations has been laid bare by the film’s reception, underscoring the delicate balance filmmakers must strike.
As the industry reflects on the lessons from “Joker: Folie à Deux,” Schrader’s comments highlight a growing need for originality and engagement in films. The dynamic landscape of Hollywood continues to evolve, and with it, the tastes and expectations of audiences worldwide. While “Joker: Folie à Deux” may become a case study for future filmmakers, Schrader’s dissatisfaction is a reminder of the subjective nature of cinematic art and the importance of resonating with audience sensibilities.
