‘Joker: Folie à Deux’ Review: A Bold and Ambitious Concept That Challenges Our Support.

The movie not only shatters Arthur’s psyche but also challenges our typical expectations of superhero films. It compels us to reflect on themes of love, the need for validation, and the consequences of neglect.

Can we truly understand the multitude of personas within us—or who we might eventually become? There are times, much like Arthur Fleck experiences, when we look in the mirror and see a reflection that feels foreign, as if a stranger is wearing our skin. Now, imagine a world that idolizes that reflection and yearns for it. What happens to our humanity when we feel unseen? “Folie à Deux” explores the impact of this dehumanization, leading us to question what it means to be ‘fragmented.’ The key inquiry is: what emotions are swirling within Arthur during these fractures? What’s unfolding in his disjointed mind?

This film aims to reveal these complexities, but it isn’t quite what we might have expected. This isn’t a critique—just a realization about the existential journey that follows the dark ascent of The Joker. In this narrative, Fleck grapples with the duality of becoming The Joker while also trying to conform to societal expectations. We can all relate to rationing parts of ourselves to fit into others’ perceptions. But what if the world confines you, insisting that your entire being is insignificant? Although Arthur dons the Joker’s makeup, that doesn’t define him, even if Harleen Quinzel, Gotham’s citizens, and the audience wish it were otherwise. The unsettling truth presented by the film is that The Joker is not entirely alien to us.

It’s tempting to distance ourselves from him, cheering from afar—much like Gotham’s morbid fascination with his character. The brilliance of Phillips’ films lies in their refusal to romanticize The Joker. This installment, in particular, focuses more on Arthur Fleck than on the clown himself. Highlighting Fleck rather than the villain feels especially bold, considering we’ve been conditioned to anticipate The Joker’s insanity as the driving force of the story. There’s a crucial moment when Fleck embraces the Joker persona, reflecting the internal struggle he faces.

However, this film doesn’t focus on catering to audience reactions in the usual way. Phillips takes a different approach from the superhero formula we’ve come to expect and often crave. In this era after Marvel and Nolan, we seem conditioned to desire more action and spectacle. Yet, “Folie à Deux” breaks away from that trend, exploring the depths of Fleck’s internal struggles, even as we, much like the chaotic residents of Gotham, tend to prefer the myth of The Joker over the man behind the mask. So, no, “Folie à Deux” isn’t about thrilling viewers or rallying comic book fans for applause. Interestingly, the first film faced criticism for seemingly encouraging such reactions in its climax, but that was more about audience perception than the film’s intent. This time, Phillips opts for a musical—a fitting choice for a story with such a darkly romantic essence. It speaks to our deep desire for validation and the longing for companionship. Arthur, who struggled to find kindness in others (“Nobody’s Civil Anymore” from the first film), starts this movie in silence, his words trapped within him. However, as he experiences love, this once-silent man begins to sing, his voice emerging from the depths of his solitude. There’s a certain beauty in that transformation, isn’t there? Fleck has always sought recognition from those around him: his mother, his neighbor, Thomas Wayne, and the admiration of Gotham’s people. In “Folie à Deux,” he finally discovers someone who validates him: Harleen Quinzel, who inspires him to believe that anything is possible. As one song beautifully expresses, “I’ve got the world on a string, sitting on a rainbow. Got the string around my finger, what a world, what a life, I’m in love.

We’re already familiar with much of Arthur’s background—his childhood, his fragile grip on reality, and his longing for acceptance. As a result, the film doesn’t delve much deeper into these aspects. The musical numbers, while beautifully executed, tend to slow down the pacing of the story and can feel a bit self-indulgent. In contrast to the vibrant dance scene in front of the mirror from the first film, “Folie à Deux” depicts Arthur removing his makeup. This act serves as a metaphor for the film itself, stripping away the layers to reveal the rawness of his thoughts and pain, aiming for a deeper understanding of his character.

Yet, some questions remain. Why is Harleen Quinzel not developed more fully? Why do certain songs come across as excessive? It almost feels as if the movie is challenging viewers accustomed to Marvel’s style to rethink their expectations. Throughout both films, Arthur Fleck is seen running—a peculiar, wide-stepped sprint—suggesting he’s escaping from himself, his past, and even his own shadow, as shown in the opening scene. Ultimately, “Folie à Deux” reflects back at us, prompting us to consider why we feel let down when this troubled man doesn’t transform into the entertaining figure we hoped for. After all, as another song in the film suggests, “The clown with his pants falling down… that’s entertainment.” What happens when we don’t get that?

Film: Joker: Folie à Deux

Director: Todd Phillips

Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener

Rating: 3/5