A lanky Caucasian man, sitting in front of a make-up table painting his face white. Through his pondering eyes rolls a tear, smudging his mascara, while he pulls his mouth wide as if forcing a smile. Meet Arthur Fleck, a 30-something impoverished party-clown who's still mentally recuperating after years in the asylum.
With a neurological disorder of uncontrollable laughter citing his traumatic childhood, Fleck struggles every day to make ends meet with futile attempts to tackle bullying in public and taking care of a delusional mother at home. Set in the 80's Gotham, where a worker's strike lead to city-wide garbage congestion and thus, rise in the anti-establishment views at large. Both of the above circumstances foreshadow the inevitable. And then, a cataclysmic event by a desperate act of self-defence pushes our helpless clown over the edge. We see Fleck in makeup breaking into a slow-ballet and sashay to his music, wrapped in a calming trance of his own inner turmoil. We know it then, for sure, that our villain has arrived.
Having said so, JOKER doesn't overcook the rhymes and reasons but is a textbook on the anatomy of a psychopath. It is well-structured, moderately paced with a compelling character-origin story. Director Todd Phillips and cinematographer Lawrence Sher ("The Hangover", "War Dogs") create an enigma of sorts amidst tight close-ups over the ominous grave themes in cello by upcoming composer Hildur Guðnadóttir ("Chernobyl") - all in a harmony. They make Fleck's circumstantial actions seem so justified that it's hard not to feel for him - even when he does things because he can.
Been spoken about those influential comparisons with prior inspirations, such as - "The Man Who Laughs" (a 1928 Victor Hugo novel's adaptation), or "King of Comedy" (Martin Scorsese's 1983 dark-comedy, also starring De Niro, who plays a pivotal role here); the one with Jack Nicholson (1989) or, the most remembered "THE Heath Ledger's portrayal" (Christopher Nolan's 2008 "The Dark Knight") - all seem justified. However, just like the latter did for 'Batman', this film does for the psychotic super-villain - viz. "to make it incredibly more human".
And, who else could have done it better than Joaquin Phoenix? Much like some previous performances - "Walk the Line", "Her" - his portrayal is rhythmically alarming, comical, self-driven and empathetic that it wouldn't be an exaggeration to call it among the finest screen-acting in the last few decades. Embodying Arthur Fleck and his personality's grim deterioration are imploring enough to search for something personal in those exhausting cackles, painful failures and delusions of grandeur, humiliations, the agony of being overlooked and stepped-over. Hence, it feels triumphant when the retaliation comes through a cacophony of riots as the Joker rises with a wide smile, unforced and natural this time.
So, until we have reservations with the portrayal of mental illness and violence on-screen, please don't miss this rare gem of a psychological-drama. We may have the last laugh with this one.
Hypnotic and near brilliant! (8.75/10)
With a neurological disorder of uncontrollable laughter citing his traumatic childhood, Fleck struggles every day to make ends meet with futile attempts to tackle bullying in public and taking care of a delusional mother at home. Set in the 80's Gotham, where a worker's strike lead to city-wide garbage congestion and thus, rise in the anti-establishment views at large. Both of the above circumstances foreshadow the inevitable. And then, a cataclysmic event by a desperate act of self-defence pushes our helpless clown over the edge. We see Fleck in makeup breaking into a slow-ballet and sashay to his music, wrapped in a calming trance of his own inner turmoil. We know it then, for sure, that our villain has arrived.
Having said so, JOKER doesn't overcook the rhymes and reasons but is a textbook on the anatomy of a psychopath. It is well-structured, moderately paced with a compelling character-origin story. Director Todd Phillips and cinematographer Lawrence Sher ("The Hangover", "War Dogs") create an enigma of sorts amidst tight close-ups over the ominous grave themes in cello by upcoming composer Hildur Guðnadóttir ("Chernobyl") - all in a harmony. They make Fleck's circumstantial actions seem so justified that it's hard not to feel for him - even when he does things because he can.
Been spoken about those influential comparisons with prior inspirations, such as - "The Man Who Laughs" (a 1928 Victor Hugo novel's adaptation), or "King of Comedy" (Martin Scorsese's 1983 dark-comedy, also starring De Niro, who plays a pivotal role here); the one with Jack Nicholson (1989) or, the most remembered "THE Heath Ledger's portrayal" (Christopher Nolan's 2008 "The Dark Knight") - all seem justified. However, just like the latter did for 'Batman', this film does for the psychotic super-villain - viz. "to make it incredibly more human".
And, who else could have done it better than Joaquin Phoenix? Much like some previous performances - "Walk the Line", "Her" - his portrayal is rhythmically alarming, comical, self-driven and empathetic that it wouldn't be an exaggeration to call it among the finest screen-acting in the last few decades. Embodying Arthur Fleck and his personality's grim deterioration are imploring enough to search for something personal in those exhausting cackles, painful failures and delusions of grandeur, humiliations, the agony of being overlooked and stepped-over. Hence, it feels triumphant when the retaliation comes through a cacophony of riots as the Joker rises with a wide smile, unforced and natural this time.
So, until we have reservations with the portrayal of mental illness and violence on-screen, please don't miss this rare gem of a psychological-drama. We may have the last laugh with this one.
Hypnotic and near brilliant! (8.75/10)