You could be forgiven for imagining that nobody had ever, ever before made a film about a loner who turns violent, given some of the hyperbolic response to Todd Phillips’s new movie, Joker – a stand-alone origin story for the infamous villain in DC’s Batman universe.
The hysteria around Joker has been such that star Joaquin Phoenix walked out of an interview with The Telegraph when the reporter asked him if he thought that the film could inspire a shooter.
Quite apart from it seeming that, in the US at least, it doesn’t take much to inspire anyone with access to a gun – and while also being aware that a 2012 screening in Colorado of Batman movie The Dark Knight Rises saw James Eagan Holmes slaughter 12 people and cause another 70 to be injured – one can only assume that the Telegraph writer in question has never seen films such as, say, Taxi Driver.
But let’s set aside such stupidity and look at the film itself.
Arthur Fleck is a troubled individual: he has serious mental health issues and a condition that makes him laugh hysterically – even at completely inappropriate moments and irrespective of how he feels – yet Gotham is slashing the social services he desperately needs.
Struggling to keep a job, he’s treated poorly by colleagues, while trying to care for his ailing mother and work up the routines to become a stand-up comic.
Nothing goes according to plan and, as Gotham itself spirals toward chaos, with the rich establishment showing scant concern for the general citizenry, Arthur is caught in the crossfire. The results are both predictable and tragic.
Joker is dark art house meets comic book: Phillips has stated that the only real comic influence on his origin tale is that of Alan Moore’s comic book, The Killing Joke, which sees Joker as a failed stand up, but this goes far further.
It’s close to impossible to not empathise with Fleck’s appalling situation and not understand his eventual reaction. Indeed, this is key to why the film has such a satisfying emotional and intellectual complexity. Fleck is not, incidentally, an ‘incel’ and this is not a movie about those who identify as such. It is a film that shows a hyper-capitalist society that is failing badly, rejecting anyone who isn't a millionaire and descending into chaos.
It is a world in which anyone less than a member of some sort of entitled elite is ignored and neglected.
In terms of the DC universe, Joker also provides a nice counter to the idea of the privileged, entitled, conservative playboy vigilante Bruce Wayne.
In terms of the cast, Frances Conroy gives a subtle turn as Fleck’s mother, while Zazie Beetz as his neighbour lends real human warmth to the piece and Robert De Niro is excellent as a smarmy TV talk show host.
But ultimately, the film rests on Phoenix’s shoulders and wow … well, what can one say? It’s a stunning performance that, unless something really crazy happens, will be featuring big time come awards season.
You cannot take your eyes off him, from the opening scenes until the end. It is a mesmerising, monumental performance.
Lawrence Sher’s cinematography is superb – Gotham is shockingly claustrophobic even in the open air. Phillips’s screenplay and direction are excellent.
The use of music is also worth noting: the shift from easy listening to rock ‘n’ roll is superb in what it reflects – and I will never be able to hear Sinatra singing That’s Life in the same way again.
Ironically, in having not been made by DC Films, it is the best film made from a DC character. Ever.
This is a classic for our times – and my goodness, it feels utterly timely too.
Fabulous stuff. Possibly the film of the year – do not miss.
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