Every decade has that one transcendent film that, as time progresses, ultimately becomes a classic for cinephiles. When films such as Taxi Driver, The Shining, Psycho, and Fight Club were first released, they were not hailed as classics the way we view them today. As the 2010s decade comes to a close, the one film that will undoubtedly age like a fine wine is Todd Phillip’s masterpiece, Joker.
As a fan of the character and the opposition that he and Batman have shared on the page and the big screen, this concept of an origin story for the Clown Prince of Crime was something I was hesitant about at first. But as soon as I watched the film, my reservations disappeared. I’m calling it now – it’s one of the decade’s best films.
On its surface, Joker tells the story of Arthur Fleck, a party clown and aspiring stand-up comedian who has difficulties establishing relationships. He lives at home with his ailing mother and after many beat downs by the society he lives in, he decides to take matters into his own hands, eventually transitioning into his Joker persona.
Joker is more than a simple origin story of the greatest villain in comic book history. No, Joker is a film that touches on subjects people should be talking about with respect to today’s society – those suffering from mental illness, those lacking health insurance or support services because of financial cuts and means, and those overall from lower social classes. The best films are always those that dare to hold up a mirror to the audience and challenge the status quo of the day. Joker and Todd Phillips do just that.
One of the biggest takeaways from this film is the subject of mental health. From the film’s opening, we first meet Arthur in a meeting with his social worker discussing how things are going for him. Rather than being shown sympathy by his counselor, Arthur is treated as just another case in a 9-5 job. It’s incredibly unnerving how little care is given by his social worker, and it is evident that Arthur feels the same way as he scribbles in his notebook early on. In the film, Arthur goes on to say that “the worst part about having a mental illness is people expect you to behave as if you don’t” summing up feelings anyone can relate to in today’s world. We see this truth play out over and over again, especially during Arthur’s interactions with the other characters throughout the film.
There are also moments throughout Joker that Arthur has no choice but to attempt to fit in with society, but doesn’t quite know how to. One of those moments is while Arthur is taking notes during a comedian’s stand-up routine. He doesn’t quite know when to laugh at the punchlines. A condition he suffers from, later revealed to us, doesn’t allow him to follow cues either.
Arthur’s descent into madness is aided by one of the decade’s best performances by Joaquin Phoenix. Eleven years ago, Heath Ledger gave cinephiles the most significant portrayal of the Joker and one of the best performances of all time in Christopher Nolan’s The Dark Knight. Unfortunately, Ledger passed away before he could receive his acclaim in person. Ultimately, he received an Academy Award for Best Supporting Actor posthumously.
Phoenix’s portrayal, while different from Ledger’s, is nothing short of masterful. His commitment to the role is on full display, especially through his significant weight loss and deliberate mannerisms to show Arthur’s mental difference and social awkwardness in every scene. By the time the film concludes, Arthur Fleck is dead, and the Joker is alive and well. This performance should go a long way this awards season and hopefully garners Phoenix his first Academy Award.
I’ve said in numerous reviews over the past few years when the cinematography turns a city into a character is when a film is at its best. Lawrence Sher‘s work in Joker is nothing short of spectacular. Most of Gotham City is a cesspool; however, Sher’s gorgeous shot overlooking a train riding into the heart of the city shows that there may be a light at the end of the gritty tunnel, similarly to when Dorothy and her crew walk towards Oz.
Hildur Guðnadóttir should also receive acclaim for her haunting score. The score of Joker may fall in line as one of my favorite scores of the past decade. Guðnadóttir’s score highlights Arthur’s downward spiral and truly captures Arthur’s feelings throughout the entire film. An Oscar nomination should undoubtedly be in her future.
In regards to the film’s controversy and the backlash it has received over the past few months, I find it comical that films like John Wick unleash a slew of constant, unrelenting violence are praised for its high-level action sequences and killing. Still, Joker is deemed dangerous by critics for its minute violent sequences. I’ve also seen criticism that Joker glorifies Arthur. Without delving into spoilers, I’ll offer a counter to that ideology with Taxi Driver. At the end of the film, Travis Bickle is hailed an anti-hero for the massacre at the prostitution house.
In the long run, Joker is more critical than it is dangerous. It’s a vital film that everyone should watch – Joker and Arthur are more than just a madman. Anyone suffering from an illness or beaten up by society and everyday life could turn into Arthur. As time progresses, the importance of the film will rise as it shows us the value of treating others well despite our differences and to stop any judgment and give real support to those suffering from mental illnesses.
This film, outside of easter eggs referencing Frank Miller’s The Dark Knight Returns and Alan Moore’s The Killing Joke, moves away from attempting to be just another comic book film. Thirty years ago, Batman (1989) became the most influential comic book film of all time. It showed studios the prospects of marketing a comic book genre the correct way. Fast forward to Joker and it ultimately has the same importance in terms of taking the comic book genre more seriously than just one of capes and cowls.
