It’s also fair to question if Phillips is the right fit for the material. This worked for 1988’s DC comics graphic novel The Killing Joke. To witness his descent into derangement is to witness a cautionary tale, but it could also serve as an act of twisted wish fulfillment. Where can Phillips and Phoenix take him now?īut at its core, the Joker has always represented the potential for madness in all of us he is the “personification of the irrational,” writes The Many Lives of Batman author William Uricchio. Cesar Romero turned him into an innocuous jester Jack Nicholson made him a jubilant gangster Heath Ledger painted him as a cunning anarchist Leto rendered him an outright psychopath.
It’s fair to wonder what’s left to say about Batman’s greatest-and most revisited-foe. Nothing about it feels like a comic book movie. Tonally, this is impressive-it hints that Phillips is reinventing a very familiar character, and it’s far scarier than plastering the Joker in tattoos.
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The blue triangles around the Joker’s eyes conjure the real-life horror unleashed by serial killer John Wayne Gacy, who worked as a clown, and the film’s 1970s music harks back to the era in which Gacy murdered his victims. The more damaged he is, the better.īatman v Superman: Dawn of Justice producer Deborah Snyder, wife of director Zack Snyder, said that what they learned from the criticism of BvS was that “people don’t like to see their heroes deconstructed.” But that’s not true at all-we like when they’re deconstructed, as long as their essence remains intact. Everything we’ve seen from Joker so far looks and feels authentic. The versatile star does his best work when creating a character from the ground up (see: Gladiator, The Master, Her), and he’ll do that here. And considering that tale will be strange and harrowing, Phoenix may be the perfect person to lead the proceedings. Like the most exciting modern superhero films- Unbreakable, The Dark Knight, Logan-it seems to want to treat darkness as something to be explored, not a danger to be avoided. The film has a stellar cast-Robert De Niro, Zazie Beetz, Frances Conroy and a host of other talented actors-to help flesh out the tale of one of the most troubled villains in pop culture. Joker feels like it’s operating on a different spectrum. There’s nothing wrong with that approach, but at a certain point it puts a ceiling on potential. and Chris Evans-the formula is the real star of the Marvel Cinematic Universe. They are designed to appeal to as wide of an audience as possible. Marvel produces some truly great blockbusters that entice and entertain, but they are manufactured to excel within the confines of a rigid (though increasingly bold) studio system. Warner Bros.’ official announcement of the project described the Joker story as “an exploration of a man disregarded by society is not only a gritty character study, but also a broader cautionary tale.” Cookie cutter this is not. The former is a raw psychodrama about urban indifference as seen through the schizophrenic mind of a deteriorating man the latter is a prescient and unanchored satirical dramedy that manages to evoke sympathy for its delusional protagonist.
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has positioned Joker as a crime drama that finds its inspiration in Martin Scorsese’s Taxi Driver and The King of Comedy. As director Todd Phillips has teased more and more of the film, sketching a rough picture of the world it’s going to create, we’re increasingly drawn to the idea.
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