Joker: Folie À Deux

GoMovieReviews Rating: ★★1/2JOKER: FOLIE À DEUX

Rated: MA15+

Directed by: Todd Phillips

Written by: Scott Silver, Todd Phillips, Bob Kane

Produced by: Josephe Garner, Todd Phillips, Emma Tillinger Koskoff

Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Harry Lawtey, Leigh Gill, Ken Leung, Jacob Lofland, Bill Smitrovich and Sharon Washington.

Madness of two

Folie à deux (French for ‘madness of two’), also known as shared psychosis or shared delusional disorder (SDD), is a psychiatric syndrome in which symptoms of a delusional belief are “transmitted” from one individual to another.

An emancipated Joker (Joaquin Phoenix) is in jail.  He’s never been more like Arthur Fleck.  He takes his pills.  The jailers (Brendan Gleeson) joke with him, ‘You got a joke for us today?’

But Arther Fleck says nothing.

It all changes when he sees her.  Lee (Lady Gaga).

Lee sings in music therapy.

She tells Arthur that she understands him.  When Joker killed Murray on live TV, she was thinking I just wish he’d kill that guy.  And then, he did.

Arthur starts having his fantasies again.

The Joker is his shadow self, his other self.  A product of childhood abuse.

His lawyer, Maryanne Stewart (Catherine Keener) wants Arthur to pled insanity.

But with Lee, Arthur’s proud to be Joker.  He wants to be Joker.

The saints being to march again.

Returning director Todd Phillips (he also directed, Joker (2019)), has taken a different perspective with the character in, Joker: Folie À Deux.

Instead of the DC world of Gotham City, the fantasy is in Arthur’s head.

And in his head, everything’s a musical.

There’s A LOT of singing.  Too much singing.

And we all know Lady Gaga can sing (and here too, Joaquin Phoenix), but that didn’t save the movie for me.

The film’s a contrast of a bland and depressing prison and the sad life of Arthur Fleck juxtaposed with his fantasy as the Joker in a sing along with Lee.

When Joker represents himself in court, the fantasy bleeding into reality, parading with a southern American accent, it jars.  The fantasy not so endearing; the crossover into reality misfiring and building to that depressing point of difference that this isn’t set in the fantasy world of Gotham City.

This is an unpacking of Arthur Fleck’s mental health.

Set to a musical.

It’s depressing.

In spite of the theatrics (l don’t actually like musicals), the tone was bland. So neither the fantasy nor the depressing reality had the right tone or play off each other in quite the right way.

Unfortunately (I was really looking forward to this sequel!), Joker: Folie À Deux is disappointing.

 

A Star Is Born

Rated: MA Star Is Born

Directed by: Bradley Cooper

Screenplay by: Eric Roth, Bradley Cooper and Will Fetters

Based on the 1954 Screenplay by: Moss Bart and the 1976 Screenplay by John Gregory Dunne and Joan Didion and Frank Peirson

Based on a Story by: William Wellman and Robert Carson

Produced by: Bill Gerber, p. g. a., Jon Peters, Bradley Cooper, p. g. a., Todd Phillips, Lynette Howell Taylor, p. g. a.

Starring: Lady Gaga, Bradley Cooper Sam Elliott, Andrew Dice Clay, Rafi Gavron, Anthony Ramos, Dave Cahppelle.

A Star Is Born is one of those country love stories because with real love comes the real tragedy of watching a star rise despite people telling her she’s ugly and the mega-star musician suffering addiction and tinnitus while losing the sense of who he is.

Add music, good music, and you’ve got more just a love story.

I didn’t go into the film expecting to like the music so much.  I’m a ‘No pop no style, I strictly roots’, kinda gal.

But all the singing was recorded live and most of the songs original and written for the film – no miming, just the real voice so you can feel it coming through the screen.

And with the opening scene of Jack (Bradley Cooper) singing “Black Eyes” with band, ‘Luckas Nelson & Promise of the Real’ I was hooked.

Sure, Jack was blitzed, but he could still sing a good tune.

Cut to Ally (Lady Gaga), a waitress, heeled boots under a toilet stall, pacing, breaking up with a ridiculous boyfriend – ‘fucking men!’ to her getting ready for a gig singing in a drag bar where you bring your own boobs – with pasted fine-line eyebrows, lying back on a bar, her voice slipping over the French as she sings “La Vie En Rose” (Louiguy and Edith Piaf) – there’s goosebumps when their eyes meet – they’re soul mates.

The music is used to compliment the story because it’s all about seeing these two together on screen: first time director Bradley Cooper with first time feature film actress Stefani, AKA Lady Gaga.

What a combination: Cooper as Jack with that soulful look off-setting the sometimes-awkward Lady Gaga as Ally, only to be used for added authenticity because we’re all a bit awkward sometimes. And yet, really, she’s not.  Ally just is.

It’s amazing how much I feel like I know this character now.  And how I’m relating to this superstar so well – she’s funny, genuine and wow, can she sing.

But it’s the two of them together that really makes the film.  I don’t think Ally would have been as believable without Cooper as Jack.  And Lady Gaga’s voice lifts the film above the usual country love song.

I was so thankful this wasn’t a musical or music video.

A Star Is Born is a well-balanced film with the authentic music matching the love story so when the music got poppy, the story got sad, to go full circle back to the earthy music again to compliment the end of the story.

Even when there could have been a cheesy moment between older brother Bobby (Sam Elliot) and younger brother Jack, all the feeling was captured in a look from Bobby while backing the car away – everything shown in that one look.

There’s drama here, and it’s a tear-jerker (damn it! I hate getting teary in the cinema), as we’re shown the life-behind-the-curtain of the talented songwriter finding her voice in the musician who sees her as clearly as she sees him.

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