Con’s Score:4/5 Clowns
As a fan of Batman comics, I realised the darkness of these gothic characters was a far cry from the camp TV show. Think about it: Batman has no super powers. He is a rich man driven by revenge and the death of his parents to become a vigilante. His arch nemesis, Joker, had nothing more than an evil laugh and a ruthless streak, who wanted to destroy the world. He was always seen as Bruce Wayne’s evil counterpoint. The Killing Joke was a dark comic book that explored this relationship and both the Jack Nicholson and Heath Ledger versions explained – they complete each other.
Todd Phillip’s (The Hangover) film exploration of the Joker’s dark back story was always going to be uncomfortable. “How I became a Murdering Psychopath” stories are not the stuff of comedy.
Arthur Fleck (Joaquin Phoenix) is a party clown, and a pretty intense one. He gets beaten up after chasing some kids who steal his sign and his pay is docked for losing it. He looks after his sick mother (Frances Conroy – Six Feet Under) and has a fling with a sympathetic neighbour Sophie (Zazie Beetz – Atlanta), or does he? He loses his job when a gun falls out of his costume at a kids hospital and on the train home, while still in his clown attire, he’s beaten up by some yuppies and he turns on them… with a gun, and becomes a cause célèbre.
He has mental health issues and when Arthur’s social support is cut off, he’s not even sure who’ll prescribe his medications any more. He also dreams of being a stand-up comedian but he’s so bad, he’s noticed by night time TV show host, Murray Franklin (Robert De Niro), a hero of his, and invited onto the show. There’s more than a touch of King of Comedy here, but it’s a whole new level.
Joaquin Phoenix has always been an enigmatic method actor, who’s taken on some challenging roles. This is his finest two-hours. He had to become emaciated for this role and find the right emotional spot. He had to somehow become empathetic, while being true to his character’s deteriorating mental condition. It’s supreme work. He embodies his character’s walk, dance, looks and laugh. His physicality is impressive. Heath Ledger would be proud. I wish the dialogue was sharper, but Joaquin does great stuff with what he has.
Some of the others pale into insignificance next to him. Brett Cullen as Thomas Wayne is important, and it’s great to see Frances Conroy on screen again. De Niro almost seems to play Rupert Pupkin as an older character.
Phillips has risen to the challenge as a director, who co-wrote this with Scott Silver. It’s pitch black dark, but had to be. Anyone who thinks it’s too dark has missed the point and the title. Joker was an evil character, not a giggling buffoon of the TV show. It might be a poor man’s Taxi Driver, but it’s more a tribute than a copy.
The backdrop of a society that rubbishes protesters, worships millionaires, praises cuts to welfare while an irresponsible media creates a frenzy is pretty prevalent and relevant right now. The criticisms that this might trigger copycats is ridiculous. We’re already living in Gotham city. The question is, would you cheer for a Joker trying to break this system or a Batman who protects it? The fact you find yourself feeling for this guy tells you how effective it is.
This isn’t easy viewing, and felt a little long. It could have ended one scene earlier, but I like that it left a few unanswered questions. The violence is brutal, but so is the subject matter. It’s not comic book at all; it’s too real for that. It is compellingly riveting and should bring Phoenix his overdue Oscar. I just hope he’s out of character by then and doesn’t turn up in face paint. It could turn ugly.
Con Nats – Theatre Now
