Musical Betrayal: How Joker 2 Silences Its Own Revolution

From its title, Joker: Folie à Deux, the film presents an intriguing challenge. The term "shared madness" suggests a connection between the main characters, but it could also reference an even more complex relationship: the one formed between director, screenwriter, and viewer. The major shift in this sequel lies not in the characters but in its seemingly novel format: a musical. With the addition of actress and singer Lady Gaga as Harley Quinn, a character immortalized by Margot Robbie, critics and fans have been polarized since the beginning. Although Todd Phillips attempts to avoid repeating the winning formula of the first film, the unexpected combination of genres has left many quite confused.

The Joker of 2019 was released amid a turbulent political climate and the unsettling emergence of the still-unknown Covid, with figures like Donald Trump and Boris Johnson leading a populist wave that mirrored the chaos embodied by the Joker himself, alongside a striking trend for extravagant hairstyles. The film, despite Phillips's expectations, became a symbol for radical sectors of the new right or "alt right," especially for so-called incels, alienated young men who found in the Joker a representation of their frustration with the system. This misunderstanding of the original film's message has clearly left its mark on Phillips, and the sequel appears to be a precise response to that phenomenon.

Rather than delving deeper into the dark portrayal of the marginalized, Phillips and Joaquin Phoenix have softened their approach. The first installment had elements of Fight Club, exploring male alienation and violent nihilism. Now, Folie à Deux takes a different direction, introducing musical elements and giving greater prominence to the female counterpart, Harley Quinn. The shift towards a lighter and more artistic tone could be interpreted as an attempt to defuse the subversive intensity that characterized the first film.

The inclusion of Harley Quinn at the center of the narrative might seem like a strategic decision. In politics, figures like Marine Le Pen softened the image of their radical right movement by positioning themselves as visible faces, but is this the right direction for the Joker? It is possible that the male far-right that appropriated the character in 2019 will see this change as a betrayal, distancing themselves from the franchise entirely. This attempt at redemption, however, may be exactly what the character needed least for purely cinematic effects.

The musical component in Folie à Deux is perhaps the most puzzling aspect. The idea of a musical based on such a dark story is not entirely novel; a Fight Club musical has been discussed for years. However, the execution here seems to limit the Joker's anarchic nature rather than expand it. The musical numbers, far from being an explosion of madness, appear to contain the character's destructive energy in a more controlled, less frightening, and theoretically more accessible format. The result is a film that seems to tame the subversive essence that made the first installment such a controversial success.

The connection between Phoenix's Joker and Scorsese's Taxi Driver was one of the pillars supporting the 2019 film. Both stories feature alienated and dangerous male characters without seeking to redeem them. However, in Folie à Deux, there seems to be a desire for redemption for the Joker, a quest to mold him into a more acceptable form. This contradicts the nature of the character: the Joker is, by definition, irreparable, a chaotic force that does not seek redemption but simply wants to watch the world burn, like many others today.

Lady Gaga, in the role of Harley Quinn, is an intriguing factor. Known for her transformative ability, Gaga brings a magnetism that promises to either revitalize the franchise or distance it from its dark roots. The chemistry between Phoenix and Gaga is a key element in determining whether this film can resonate with fans of the first installment or if it will fall into a failed attempt to please a broader audience. Initial reactions have been mixed; some see Gaga as a necessary renewal, while others fear she may dilute the rawness that characterized the first film.

Phillips seems to have fallen into a self-imposed trap: in his effort to innovate, he has taken the Joker's story into territory where it loses its essence and intensity. The tension between what the audience expected and what has been delivered has created a polarization that may be irreparable. And while originality is welcome, this radical shift in tone and the introduction of musical elements may not be what the character needed to evolve.

Joker: Folie à Deux seems to have become entangled in its own ambitions. The attempt to soften the Joker through a musical, rather than continuing the legacy of chaos that precedes him, may have diluted the character's charm and power. In trying to avoid repetition, Phillips has taken a bold route that has lost sight of what made the original Joker so unsettling. Perhaps the true madness lies not within the film's characters but in the tormented and poorly executed creative process that brought them here.