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Thursday, October 10, 2019
MOVIE REVIEW/Joker
This Joker's Gone Wild, Shot To Hole-y Hell
![](../joker1.jpg)
Joaquin Phoenix as the title character in
"Joker" directed by Todd Phillips.
Warner
by
Omar P.L. Moore/PopcornReel.com
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Thursday,
October 10,
2019
The New York of the 1980s--an era of grimy, gritty perilous trial and survival.
A Gotham City teeming with crime, drugs and indifference. Todd Phillips
frolics in the "greed is good" decade, dumping helpings of Martin Scorsese
movies about loners and obsessives ("Taxi Driver", "The King Of Comedy") on a
monochromatic canvas. "Joker" flickers but never fully lights up. Not even
a macabre, fearsome performance by Joaquin Phoenix rescues this bleak satirical
effort loosely tied to the DC Comics stable.
Mr. Phillips and fellow producer Bradley Cooper take their "Hangover" franchise
of crude juvenility and put savage edge into "Joker" but the character's poorly
written foundation wobbles. Arthur Fleck's issues are plenty: abandonment,
violence, mental challenges and uncontrollable nasty laughter not unlike that
from Robert De Niro's Max Cady character in Mr. Scorsese's "Cape Fear" (1991).
(Arthur shares a swampy slime with the real slim Cady.) Arthur flounders
as a clown performer and moonlights as a stand-up comic. Now that's
comedy and drama. The clown is happy, the comic downright angry. The
comic has stale material Rupert Pupkin would be at home with.
Arthur trudges through a grim, claustrophobic apartment with his dubious mother
(Frances Conroy) whom he bathes and dances with--it's Norman Bates isolation
that doesn't quite penetrate the grainy veneer of the gloom and dank. It
doesn't feel real. Nor does the relationship Arthur has with Sophie (Zazie
Beetz), who lives in the same apartment building. They exchange weird
creepy signals to each other. Arthur laughs to himself rather than talks
to himself, and Mr. Phillips, whose "Hangover" series was lively if predictable
early on, breathes no life at all into "Joker". Much of it is slow-motion
chaos and disaster parody.
Arthur is a rougher, nastier edition of Lonesome Rhodes. Deeply
misanthropic, Arthur is a flamethrower whose targets are at least considered.
"Joker" leavens Arthur's anti-social morosity with heart in one distressing,
wickedly comic episode, the only one in Mr. Phillips's film that hits the mark,
and in a potent way. If comedy and death meld well, is comedy death
itself? Is laughter pain, or a way to alleviate pain? The answer
seems obvious but "Joker" seems to wreck what laughter is and what fun is
supposed to be. It is as if the film hates enjoyment but delights in
punishment. Yet "Joker", like the pathetic, unfunny jokes Arthur struggles
to tell, doesn't execute its punchlines well.
Only a little better with comic timing is the moralistic but upbeat Murray
Franklin (Mr. De Niro), a second-rate late-night talk show host in the mold of
Johnny Carson. In look and manner here Mr. De Niro also resembles
legendary New York talk hosts Joe Franklin and Regis Philbin. You can't
help thinking about "King Of Comedy" character Pupkin too when you see Mr. De
Niro, whose Franklin gins up the TV ratings game with his hokey insults.
Musically "Joker" has time for Jimmy Durante's rendition of "Smile" and, for
heaven's sake, Gary Glitter -- the latter is a calculated insult -- and given
the background, a deep wound. Mr. Phillips knows what he's doing, and it's
the same thing he did in "The Hangover" films: go there, and do so unblinkingly,
but all in the service of pushing buttons, yet in "Joker" it is done aimlessly
and restlessly.
Throughout "Joker" the New York City air is lurid, foreboding, expectant and
polluted with a vicious anger and contempt, augmented by great cinematography by
Lawrence Sher. Too bad the writing by Scott Silver and Mr. Phillips is far
too incomplete and shallow to serve as a credible compliment to the visuals or
Mr. Phoenix's intensity. Some will say that "Joker" is irresponsible in
its disturbing and jarring presentations but the statements being made are too
performative and pretentious to hammer home anything beyond the outsized
violence that unfolds--violence enlarged because of the poor screenplay.
The central question I had during "Joker" was, "who is Arthur, and what is he?"
"Joker" never brings us closer to him nor does the script argue his case well.
The circumstances around his history feel forced. Arthur's soul has
clearly long gone. Who took it? Comic-book or not, I wasn't
convinced. Then I didn't care. The topic of mental illness is,
unsurprisingly even more problematic and surface. "Joker" is more about
signposting toxic white male violence, ugliness and masculinity challenges than
about mental illness, which gets lost in the fact that Mr. Phillips manipulates
the issue and throws polarizing matters into a film that is not confident enough
to discuss or appreciate the issues. He hopes something will stick but his
scattershot approach left me barren and exasperated.
With its moment of Bernhard Goetz vengeance "Joker" makes the most of 1980s New
York and Mark Friedberg's production design is a garish, nightmarish Gotham that
comes alive powerfully, significantly in an anarchistic orgy of violence that
evokes "far left" agitation or right-wing Proud Boys violence. The cult of
Donald Trump is surely at play in "Joker", with clown masks replacing MAGA hats
as the uniform of choice. "EAT THE RICH!" a placard shouts. But
which "rich"? In the 1980s Trump was the darling of the New York media
which itself was a nightmarish pack of wolves (just ask the Exonerated Five) --
and look at Trump now. He campaigned at rallies as a violent agitator,
sparking violence. Joker has even less of a meaning or reason to be.
Trump won't pay your cinema fees for a refund for "Joker", but it is also true
that this Joker could shoot someone on Eighth Avenue and not lose a wink of
sleep.
"Joker" succeeds to a degree in shocking and provoking but mostly reviles and
alienates because of its deep cynicism about the world around an almost
invisible character overwhelmed and angered by his own inadequacy. The gun
violence will make some uneasy, but uneasy compared to what, El Paso, Texas in
August 2019?
With: Brett Cullen, Shea Whigham, Glenn Fleshler, Bill Camp, Josh Pais, Douglas
Hodge.
"Joker" is rated R by the Motion Picture Association
Of America for strong bloody violence, disturbing behavior, language and brief sexual
images. The film's running time is two hours and one
minute.
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