Joker Venice Film Festival Review Is This the Next Fight Club?
Todd Phillips' origin story for one of movie theatre's most iconic villains goes to places most comicbook films wouldn't dare.
Joker sees DC pace abroad from a cinematic universe, although it seems unsure in its ground. Clearly distinct from the kid friendly spandex we're used to, it still chooses to flirt with its cinematic siblings.
Thomas Wayne (Brett Cullen), Bruce'due south dad, is running for mayor, his Trump-esque speeches oft aired on Television receiver, declaring he's the just hope for the disenfranchised poor of Gotham.
Meanwhile, Arthur Fleck sits in his grimy apartment with his sick mother, Penny (Frances Conroy). She worked for Thomas effectually 30 years ago, and is disappointed he never replies to her messages.
Arthur dreams of actualization on Live With Murray Franklin, a late-nighttime talk show, with Robert De Niro playing its host in a very obvious nod to his role in Martin Scorsese'south The Rex of Comedy.
And the Scorsese homage doesn't cease with the talk show. Travis Bickle's taxi wouldn't look out of place in Gotham'south squalid, neon-lit and garbage-filled streets.
We first see Arthur manipulating his face from a caricaturistic frown to a manic grin as he prepares for his job as a clown. Even among a grouping of fellow clowns he seems an outsider, his dreams of becoming a stand-up comic are ofttimes mocked past his co-workers.
We see him battered by a gang of kids as he dances with an 'Everything Must Go' sign outside one of the city'south many failing businesses.
His misery deepens as his therapy is dropped in city-broad cuts. This combination of woes makes for a conceivable backstory, simply 1 that far also many people may experience they relate to.
Shortly after, he gyrates around his living room shirtless, wielding a pistol. Bones poke out at every angle every bit the thin lighting illuminates the dramatic weight loss from Phoenix, his trunk contorting round the room to Slap That Bass from Shall We Dance.
This isn't the last fourth dimension we run across him dance, but from this moment on a spark ignites in the character. He seems more than unhinged, more volatile, ready at whatsoever moment to make the inevitable transition to become the Joker.
Hildur Guðnadóttir's score ramps the tension up massively as we await for Arthur to snap, and when it finally comes, the picture picks up massively. An deed of violence past Arthur, initially in self defense, sparks riots as reports hit the news.
Class warfare seems imminent as civilians have to the streets to stand up up to the one per cent that rule them, seeing the violence as symbolic, the spark to kickoff a revolution.
Every bit the situation intensifies, so does the internal warfare in Arthur'southward listen. The film blends dreams and reality, with his uncontrollable chronic fits of laughter throwing in an extra layer of uncertainty. His unhinged howling is hands mistakable for crying.
A baggy second deed eventually gives way to Joker'south manic finale, a cacophony of chaos, equally Phoenix is allowed to run wild with the character. His violence is shown mostly without judgement, although we are manifestly supposed to be impressed by his operation, his trip the light fantastic moves making him seem something of a rock star.
He's clearly a bad man in a worse world, and represents the chaos club could swoop into, which director Todd Phillips is clearly not supporting, but the downtrodden-man-who-lodge-doesn't-care-about rhetoric wouldn't sound unfamiliar coming from the darker corners of Twitter, and seems to invoke incel civilisation in all the worst ways.
It would come as no surprise at all if we encounter far also many people claiming they chronicle to the character and his motivations, much like the misinterpretations of Fight Club and A Clockwork Orange, and we can but hope that this isn't taken too far.
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Source: https://taketime.co.uk/the-hub/posts/venice-film-festival-2019-joker-review
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