After a five-year wait, “Joker: Folie à Deux” has arrived– and this time, with a musical twist.
In this sequel, Arthur Fleck, the Joker as played by Joaquin Phoenix, is institutionalized at Arkham State Hospital. There, he forms a twisted relationship with Harleen “Lee” Quinzel, another patient. As their bond deepens, Lee plays a role in the high-stakes court case that will determine Arthur’s future. Set amidst the escalating chaos of Arkham, the film intertwines the character’s growing dynamic with the intensity of the courtroom drama.
Although the prolonged court case was intended to build stakes, it lost its momentum as I (Francine) kept waiting for The Joker to embark on an escapade with Harley Quinn in the city. The film hints at their potential mischief (an expectation rooted in their typical troublemaker dynamic from previous adaptations) but holds back, making the moments of character development feel tedious. The anticipation for their wild partnership builds, but is ultimately unfulfilled, leaving a gap between what was expected and what was delivered.
The musical aspect, while bold and unique, overshadowed the psychological depth I hoped to explore. Lady Gaga’s performances as Lee were undeniably powerful, yet I often felt the singing interrupted the narrative momentum. Instead of adding to the character’s emotional arcs, the frequent musical numbers distracted from the intensity that made the first film so thrilling. I craved more action, but was instead met with another song that felt excessive and somewhat irrelevant.
Hayley here- and I couldn’t disagree more. We have plenty of movies out there that encompass the action-packed DC comic book energy. This film picked up perfectly where the last film left off by continuing to tell the psychological tale from Arthur Fleck’s perspective. It painted the courtroom in a very authentic way that I believe our current society has grown to hyperfixate on, and culturally flock around ever since the Depp vs. Heard case.
Phoenix did an incredible job making the audience empathize with his character. By the end of the film you feel like a disgruntled society member, ready to paint your face in clown makeup and fight for the man who tried to turn his trauma into laughs and rid society of all its bullies. The musical aspects worked similarly to how they did in the first film, by giving the audience a glimpse into Arthur’s mind, serving as a way to show the audience the difference between reality and what’s just a fantasy he created as a way to escape his trauma.
Todd Phillips, director of both films, succeeded in his plan to create a story that shows how villains like The Joker can be created. He uses the story of Fleck to teach the lesson of the cycle of abuse, and how if left unchecked the abuse will find a way to continue. Lady Gaga’s character and musical numbers were essential in showing how easy it can be to manipulate one’s emotions, and gave the audience a different twist on her origin story.
Overall, Phillips was successful in his goal of “[wanting] nothing to do with DC” and creating a film centered around The Joker that told a different side to the beloved character’s backstory. If you were looking for a film like Francine, with comic book action and DC superhero glamor, this is likely not the film for you. However, if you want a well-told psychological tale that explores culture, power and forces you to debate your own morals, “Joker Folie à Deux” is most definitely for you. With much debate we landed on a 3 out of 5, averaging out our differences.