By Alena Bitonti
Arts & Entertainment Editor
Following the success of “Joker,” it only seemed fitting for director Todd Phillips to return with the next chapter of Arthur Fleck’s story. However, many fans were surprised to find it would feature tap dancing and an homage to the Great American Songbook.
“Joker: Folie à Deux” was released in theaters on Oct. 4, starring Joaquin Phoenix reprising his role as Fleck, better known as Joker, alongside Lady Gaga playing his newfound love interest Harleen “Lee” Quinzel.
The sequel picks up with Fleck in custody at the Arkham State Hospital, awaiting trial for the multiple murders he committed in the previous film. Here he meets another patient, Quinzel, at a music therapy session. She’s basically a Joker fangirl, swearing she’s seen the movie they made about him 100 times.
The two click and fall in love, their relationship quickly embodying the title that directly translates to “madness for two.” Quinzel influences and motivates the misunderstood Fleck to fully embrace his Joker persona.
Scattered throughout the film are elaborate musical numbers representing hallucinations that Fleck uses to express himself as Joker. From nightclubs to variety shows, the audience enters alternate universes where Fleck and Quinzel sing various tunes, including jazz and Broadway classics.
Music is intertwined with the actual storyline, too. During their first conversation, the two whisper Judy Garland’s “Get Happy.” When Quinzel visits Fleck in his cell, she serenades him through the bars with a rendition of The Carpenters’ “Close to You.” However, it’s difficult to distinguish how much of their interactions are a part of Fleck’s imagination. I believe it’s up to the viewer’s interpretation.
The musical aspect of the film was definitely a bold choice by Phillips. While I enjoyed the majority of the musical numbers, the singing became repetitive and felt out of place at times. It seemed like every time Gaga’s character was on screen, which wasn’t often, she interrupted an important conversation to sing an acapella cover. Toward the end of the film, Fleck even silences her, saying, “Just talk. Stop singing.”
For me, the acting is what really shone through. Phoenix’s ability to flawlessly portray a figure grappling with the consequences of serious crimes, yet not fully a villain, reminded me of what made the original movie so memorable. I particularly enjoyed the intensity and comedic timing he brought to the courtroom scenes.
Gaga adds an intelligent and sly personality to her role as Quinzel — who, unfortunately, didn’t get as much character development as her partner in crime.
“Joker: Folie à Deux” earned an opening of $40 million in domestic ticket sales, falling far behind its predecessor which generated $96 million on its first weekend in 2019, according to the New York Times. With a D CinemaScore and 33% on Rotten Tomatoes, it’s clear the film isn’t resonating well with audiences or critics.
The story seemed as if it rushed to a conclusion, with a shocking twist which is, what I believe, a major factor in the negative reviews. Combined with the musical element, this makes it difficult for “Folie à Deux” to achieve the same success as the original.
