It’s been fascinating to watch the discussion around the movie shift from”Do we actually want another Joker story so shortly after Suicide Squad?” To”Is Joker filled with harmful ideas that will spur its worst lovers to murder?” There are some ugly, self-serving messages in the movie, which is incongruously bent on creating sympathy for Batman’s worst enemy and one of DC Comics’ most callous murderers and atrocity architects.
But despise it or love it, the movie does twist up of adopting nihilism as a way of escape from a universe a dream of relief and persecution. It is a dream. Phillips and co-writer Scott Silver follow in the footsteps of Joel Schumacher’s 1993 play Falling Down in portraying the world as a cartoonishly dim and uncaring place, an almost comically vile carnival where the protagonist can not find a sign of relaxation or relief. At Joaquin Phoenix plays with Arthur Fleck, a part-time.
Arthur is dealing via treatment, which does not provide relaxation or signify caring and meds and ill. He is dedicated to his ailing mother Penny (Frances Conroy), who is invited him to watch himself as a joyous light from the planet, bringing laughter to the public. The issue is he is humorous. Since his behaviour feels as though it may turn hazardous — or uncomfortable for 35, he embarrassing, the sort of social incompetence individuals shy away from.
It is simple for audiences to empathize with his desire without loving him, to be loved. It is clear why, when he says that he feels invisible: he is the type of individual people looks away from out of busy or apathy distress. That tension between empathy and revulsion is among the most honest things about Joker, that largely goes out of its way to produce the planet awful.
While employed as a sign-twirler, Arthur is beaten by a small number of children, who steal his own signal and split it. His boss not only does not think his story, but he needs Arthur to cover the sign. Injustices compound and the ironies during the movie, until it is apparent that Arthur is not paranoid, the world is out for him.
And he chooses actions that are barbarous. For much of its runtime, Joker is a consciously horrible movie, emotionally and visually. Arthur loses it incrementally, and begins to nothing, in a way designed to damage viewers.
Phillips and cinematographer Lawrence Sher (who additionally DP’d for three of Phillips’ Hangover films ) give the movie a sickeningly grungy, underlit, David Fincher-esque appearance, particularly at Arthur’s squalid home. Everything concerning the storytelling — the flourishing score; the darkness; the style — is made to be oppressive, and also to push the viewer toward Arthur’s point of view as the victim of the oppression. It is hypnotic dreadful Arthur’s presence is as Phoenix’s functionality is hypnotic as he spirals into oversized and positive acts of destruction.