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It is not so much a film about the arch nemesis of Batman comics and movies, but about Arthur Fleck (a huge Joaquin Phoenix), a man with a medication-controlled mental illness, who makes a living as a clown and cares for his old woman Mother in an old and dull apartment. He is a man who acts like a big boy, for whom television is a dream factory, and who is not ready for the harsh reality. He wants to be a stand-up comedian and make people laugh, but he's not funny. He lives in an apparent social normality in which the flame is about to ignite. This is the story of a monster about to be born.
The director and screenwriter Todd Phillips builds his film from a known story - a good man is debased - but what he achieves is an explosive device made up as a commercial film.
Arthur suffers from an involuntary laugh, a manifesto of his illness, a laugh that bothers those around him, people who don't stop to think about how uncomfortable that laugh really is for him. It does not fit anywhere and nobody gets in their shoes. A borderline reaction to defend against a silent attack will cause Arthur to change, become more fearless and react violently as something natural. In "Joker", the previously weak man wakes up from his lethargy and seeks answers to his condition, becomes a detective of his past and digs into forbidden lands that sink him further.
That uncontrollable laughter, which is both a crying or a chronic patient's cough, is the evil, dark and unfiltered essence that tries to leave. The end point of the transformation. To show his emotional breakdown, Joaquin Phoenix leaves from the physical breakdown of his character and as the story progresses the layers that humanized him are broken. The metamorphosis of Phoenix is sad and wild.
Two of his moviegoers are “Taxi Driver” and “The King of Comedy,” both directed by him and starring Robert de Niro. But especially it feels very close to “Network”, by Sidney Lumet, a 1976 film, key to understanding the relationship of power and the media in a society that lives as a spectator. In "Network" an old television presenter, who is going to retire, explodes one day all his anger in front of cameras. He is a character who is fed up with everything that is wrong in society and finally decides to say it out loud. That act, which could be his social ruin, makes him rather a symbol, since he is not alone: many people think the same as him and make him a celebrity of the right that one has to be indignant. "Network" as "Joker" is a movie about tiredness.
An individual and collective fatigue. An outrage that in these times is the basis of the fairest protests, but also of the most radical and violent. Depending on who sees it, "Joker" can be a sharp weapon, but also a very necessary conscience alarm.
Arthur Fleck (Joaquin Phoenix) becomes an involuntary protagonist of waves of protests that confront the poor against the rich, citizens against their rulers, "white, privileged and successful men" against those who failed to reach as high as the system mandates . And it is not for him that they rise in droves, but for a clown face. An anonymous clown who could be one or all.
From the series of misfortunes that Arthur lives, his descent into madness is specified. But not only crazy people raise their voices. Joker emerges as a dangerous leader, but also as a free man who dances and laughs without caring about anything, a man with an internal chaos that spreads and is spread. The movie seems to tell us how far or near we are from him.