(Don’t worry, no big spoilers.)
Joker: Folie à Deux, Todd Phillip’s follow-up to the surprisingly successful Joker (2019), takes a bold and unexpected turn, embracing musical elements and a surreal atmosphere. Once again, Joaquin Phoenix delivers a stellar performance as Arthur Fleck, but this time he’s joined by Lady Gaga as Harley Quinn, whose portrayal is both mesmerizing and unique.
But wait, let’s go back to the first movie for a sec
In the Joker released in 2019, Arthur Fleck is portrayed as an ordinary man, far from the calculated mastermind seen in comic books. Instead of being a strategic genius, Arthur is a marginalized victim of society. Themes like social inequality and mental health illustrate how trauma and isolation can twist a person into something monstrous. His transformation into the Joker comes after years of suffering, when Arthur responds to all the violence he went through with more violence, which leads some people to glorify him as a revolutionary figure. A critique on how problematic individuals often become idols.
Arthur’s journey from a marginalized loner to the chaotic Joker was meant to evoke empathy for his suffering, but not admiration for his violence. Phillips was surprised by how the public responded to the film when people – “with a weird perspective of the word”, as Isabela Boscov (movie critique) says – glorified him as a revolutionary character.
In Folie à Deux, it feels like Todd Phillips wanted to address this very misunderstanding. The film seems to be his direct response to those who took Arthur Fleck’s transformation as something aspirational. Here, Phillips makes it clear: there is no Joker, there is only Arthur – an ordinary person with severe traumas who did terrible things. The director is pushing back against the dangerous idolization of violence and chaos. It’s a critique not only of how Arthur was received by fans but also of the broader culture of entertainment that sensationalizes such figures. After all, how many criminals and killers have had movies made about them, capitalizing on the fascination with their heinous acts?
The strange choice of the musical genre
It’s important to note that you can’t fault Folie à Deux for being a musical – we knew this going in. I believe much of the criticism comes from those who dislike the genre and approached the film with preconceived notions. However, the musical sequences are not just decorative – they serve a deeper purpose.
At the start of the film, Arthur is depicted as depressed, lonely, and lacking the energy he exhibited in the first movie while awaiting trial in prison. But after meeting Lee, played by Lady Gaga, everything changes. She is an obsessive fan of the Joker, claiming to have watched his story unfold multiple times. Her admiration reinvigorates Arthur, and as their twisted relationship deepens, the film’s musical numbers begin.
The title ‘Folie à Deux’ refers to a psychological condition where two people share the same delusion. In this case, Arthur Fleck and Harley Quinn seem trapped in a shared fantasy where the Joker is idolized. They feed off each other’s distorted perceptions, with Harley seeing Arthur as a tragic, fascinating figure and Arthur beginning to believe he truly is the grandiose icon that society has turned him into.
These musical sequences reflect Arthur and Lee’s distorted reality. They are in the majority just fantasy. It is not those musical movies where people just start singing out of nowhere. Each performance, featuring jazz and classic songs, mirrors Arthur’s delusions and emotional turmoil. Far from being a simple stylistic choice, these moments reinforce the film’s critique of our obsession with spectacle. Phillips skillfully blurs the line between reality and fantasy, challenging the audience’s perception of Arthur.
Interestingly, Phillips revealed in interviews that the musical performances were captured without prior rehearsals, aiming for spontaneity. This adds a raw, unpolished edge to the scenes that align with the characters’ emotional instability.
Arthur and Lee
Lee, a supposed fan obsessed with the Joker, claims to have watched his film multiple times and even created an elaborate plan just to meet Arthur in person. Arthur, desperate for affection, mistakes her love obsession, not realizing that her devotion is a reflection of society’s relationship with him: they adore the Joker, not Arthur. This dynamic intensifies the film’s critique of idolization—people admire the spectacle, but not the person behind it.
As their relationship evolves, Arthur begins to embrace his role as the Joker, even dismissing his lawyer to represent himself at trial. The public’s adoration reinforces his belief that they see him as an icon. However, in a powerful moment, Arthur attempts to discard the Joker persona, declaring, “There is no Joker, only Arthur.” The same public that once idolized him now turns on him, underscoring how fleeting and shallow society’s admiration can be. They don’t love Arthur Fleck—they love the Joker.
Let’s talk about the script
The narrative, while rich in symbolism and daring in its structure, does falter at times. There’s a moment where it feels like the story loses its momentum. The relationship between Arthur and Harley, although interesting, could also have been more deeply explored. Yet, despite this, Phillips still manages to make his message clear.
Oscar-worthy performances?
Joaquin Phoenix once again delivers a masterful performance. Lady Gaga, in particular, astonishes as Harley Quinn, delivering a performance so nuanced that she even sings in a way that makes her sound less polished, fitting her character’s emotional instability. Though the chemistry between the two characters could have been stronger, the surreal nature of their interactions – much of it unfolding through fantasy musical sequences – made it harder for their relationship to fully develop on-screen.
A Visual Experience
Visually, the film is stunning, as expected from Phillips. Every shot is meticulously crafted, with the cinematography playing a key role in portraying Arthur’s distorted reality. The atmosphere is consistently haunting, echoing the themes of chaos, delusion, and idolization that drive the narrative. A highlight of the scene is when Lee draws a smile with her lipstick that fits perfectly on Arthur’s smile through the glass.
In conclusion
Joker: Folie à Deux may not be what fans of the original expected, and much of the criticism stems from this mismatch of expectations. But that seems to be precisely what Todd Phillips intended – to challenge the audience and make them uncomfortable. It’s not a film that glorifies the Joker but rather one that dismantles the myth around him, reminding us that behind the Joker is just a man, Arthur Fleck. And sometimes, it’s a reflection of our society’s dangerous relationship with chaos and entertainment that’s more unsettling than any fictional villain could be. The criticisms of the film only intensify the critique of this work of art.
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The article above was edited by Isabelle Bignardi.
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