The Article below was published in Vol. 135, Issue 3 of the Lake Forest College Stentor on November 8, 2019
By Christian Metzger ’20
Staff Writer
It goes without saying that upon its release on October 4 of this year, Todd Phillips’ Joker propelled itself to the forefront of public consciousness. It’s one of those rare instances where the film lives up to its own reputation; Joker is visceral, unrelenting, and emotionally resonant.
All of that ultimately comes down to the stellar performance by Joaquin Phoenix as Arthur Fleck, who becomes the titular clown prince of crime. His performance truly captures and distills this uncomfortable concoction of sympathy and revulsion, which keeps you on the edge of your seat as the film follows along this captivating descent into the maddened mind behind the white face paint. In many ways, Phoenix channels the same energy of Heath Ledger in The Dark Knight before him—yet creates a version of the character that is uniquely iconic and just as warped as the setting around him.
While Phoenix is most assuredly the casting highlight, all of the actors give stellar performances. Robert De Niro as the comedy host Murray Franklin is another standout who really draws out the tension in the film’s memorable climactic moments.
The director, Todd Phillips, had a very inspired direction for the film—the grungy and dark colors that emphasize the crushing oppression of Gotham’s urban environments contrasting with brilliant multicolored flair with the various fantasy sequences in the film. Some moviegoers might find this aspect of the film confusing, as the line between Arthur’s idealized fantasies and reality often become blurred, where it might become difficult to discern which parts of the narrative are real or just made up. This appears to be one of the major draws of the film, however, as the movie almost directly challenges the viewer to sit and think about it for some time after watching.
The film is punctuated by a metallic and droning score that undergirds the entire movie, only adding to this sense of unease as one watches the events play out on screen. While there is violence present in Joker, it is far more understated than one might think: the true horror being this gradual decline of Arthur’s mental state—constantly on edge for the inevitable moment when he snaps. Every element of the movie builds this sense of unease, which is built up far better than even some wholly scare-based films that release around the Halloween season.
That is ultimately reinforced by the overall themes of the film, which are this mounting clash between the factions of rich and poor as well as this dialogue about mental health and how important it is for those in need to receive help. It’s a bold—yet necessary—message that Philips manages to pull off with an incredible amount of respect and tact. In many ways, this subversion of what one expects from the superhero genre feels as much a landmark as Christopher Nolan’s The Dark Knight, and it wouldn’t be surprising to see more introspective takes on iconic superheroes in the future.
Joker is a film of very little faults, surpassing expectations on every front. From captivating performances, smart writing, and a visual style totally distinct from the other movies in the “superhero movie” genre, it would be fair to say that it is a contender for one of the best films to have come out this year. If you have the opportunity, whether, in theaters or elsewhere, Joker is a movie you should not miss.
8.5/10
Christian Metzger can be reached at metzgerct@mx.lakeforest.edu
