When audiences voiced their desire for superhero films to innovate, *Joker: Folie à Deux* certainly wasn’t what many envisioned.
Todd Phillips’ 2019 *Joker* reinvented the notorious Batman antagonist as a beleaguered everyman descending into notoriety, heavily influenced by Martin Scorsese’s classics such as *Taxi Driver* and *The King of Comedy*. Although opinions on it were mixed, the film was immensely successful, grossing over $1 billion worldwide and receiving 11 Oscar nominations, including Best Picture. A sequel seemed unavoidable. Even those doubtful of Phillips’ raw interpretation of Gotham were piqued by the casting of pop star Lady Gaga as Harley Quinn. However, despite the anticipation, *Joker: Folie à Deux* disappoints, leaving fans of Gaga, Harley Quinn, Batman, and even musicals feeling let down.
Let’s be clear: *Joker: Folie à Deux* is a dreary, laborious journey.
### A Gradual Beginning and an Uninspiring Joker-Harley Relationship
The film begins with Arthur Fleck (Joaquin Phoenix) stuck in Arkham State Hospital, waiting for trial due to his televised murder rampage. Gaunt and dismal, Arthur’s passion — for life or for chaos — appears snuffed out. That is, until he crosses paths with Lee Quinzel (Lady Gaga), a fellow inmate captivated by his notoriety.
The Joker and Harley Quinn’s relationship has consistently been damaging, from *Batman: The Animated Series* to *Suicide Squad* to the *Harley Quinn* animated series. Yet, in this film, their interaction is less engaging. Lee is depicted as a Joker enthusiast, adoring Arthur’s notoriety and bolstering his ego. She acts less as a catalyst for chaos and more like a sycophant, using charm and cunning to infiltrate his existence. Their bond is devoid of the intricacy or chemistry characteristic of other interpretations of the pair.
The title, translating to “shared madness,” suggests the musical sequences interspersed throughout. These moments, reminiscent of classics like *The Band Wagon*, provide fleeting glimpses of vitality as Arthur and Lee sing and dance in their collective fantasies. But Phillips opts to shy away from fully embracing the vivid aesthetics of Golden Age musicals, choosing instead the bleak, washed-out visuals of 1970s crime dramas like *Dog Day Afternoon*. The outcome is a timid fusion of genres that fails to capture the enchantment of either.
### A Charisma Void at Its Core
One of the film’s most significant shortcomings lies in Arthur Fleck himself. Phoenix’s depiction of the Joker lacks charisma, making it difficult to grasp why Gotham’s populace — or viewers — would rally around him. Unlike the captivating antiheroes of the ’70s cinema, Arthur is a fragile, uninteresting character. His courtroom scenes, where he battles against witnesses, prosecutor Harvey Dent (Harry Lawtey), and an irritated judge, come across as particularly tedious.
While Phoenix’s portrayal seems unremarkable, Gaga’s Lee Quinzel serves as a rare positive note. Gaga infuses depth into an underdeveloped role, illustrating Lee as a desperate, parasocial admirer who believes she knows Arthur better than anyone else. Her performance, marked by vocal variations from gentle vulnerability to sultry assurance, hints at a more profound narrative that the film neglects to delve into. Regrettably, Lee is pushed to the background, her role becoming more of a narrative tool to drive Arthur back into disorder instead of being a fully fleshed-out companion.
### A Missed Chance for Harley Quinn Aficionados
Those anticipating Gaga’s standout portrayal of Harley Quinn will find themselves let down. The film never even affectionately acknowledges her as Harley, and her evolution into the character is lackluster, resembling a hurried Halloween costume rather than a daring reinvention. Even the highly publicized staircase dance, a nod to *Joker*’s legendary moment, is conspicuously absent.
Gaga’s dedication to the role is apparent, even releasing a companion album titled *Harlequin*. However, the film squanders her abilities, presenting only a brief solo scene in front of a mirror rather than a dazzling musical tableau. For fans who adored the vibrant, fashion-savvy interpretations of Harley in *Birds of Prey* and *The Suicide Squad*, this version feels like a significant disappointment.
### A Disrespectful Blend of DC Lore and Musical Tributes
Phillips and co-writer Scott Silver sprinkle in references to Harley Quinn’s comic book roots, but these appear scattered and disconnected from past representations. To make matters worse, the film’s third act includes a blatant nod to Christopher Nolan’s *The Dark Knight*, which feels more like a superficial Easter egg than a substantial link to the cherished trilogy. Admirers of Nolan’s Gotham will likely bristle at Phillips’ audacious retconning.
The film also takes extensive cues from classic musicals, featuring songs like “Get Happy” and “That’s