Joaquin Phoenix Channels Classical Robert De Niro in Grungy 70's Tribute



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Joker

Niko Tavernise / Warner Bros.

When Martin Scorsese directed "Taxi Driver" in 1976 and "The King of Comedy" in 1982, he directly commented on the contemporary world and the damaged individuals who were trying to survive it. When director Todd Phillips chose to create "Joker" in 1981, it looks a lot like those movies (Gotham City is nicknamed "Fun City") and seems to be an amalgam of Travis Bickle by Robert De Niro and Rupert Pupkin. two classics he seems to do because he's a fan of Scorsese.

After all, if you want to make a film about the working class people crushed by the rich and about a sociopath who inspires violent supporters after committing crimes and on television, 2019 is just sitting here.

The viewers will probably disagree over whether "Joker" should have been a vintage piece, but there is no doubt that it is a wonderfully crafted piece. Photo director Lawrence Sher ("Godzilla: The King of Monsters") and supervised Artistic Director Laura Ballinger ("The Greatest Showman") have obviously studied not only these two Scorsese films, but also "The French Connection", "The taken from Pelham One Two Three, "" Shaft "and many movies where New York is described as a hellish landscape of graffiti and garbage (Gotham City's sanitarians are on strike), where the wet streets reflect the sleazy neon of porn theater marquees.

DC Comics fans will probably want to know how cinematic the film is, and without getting too bothered by developers, the answer is: More than what it leaves at the beginning. And if Phillips borrows countless films here, he also lifts an entire section of Frank Miller's "The Dark Knight Returns" for good measure.

Is it an original story? Oh, is it still? And Phillips (who co-wrote with Scott Silver, "The Fighter") is he proposing something more interesting in Joker's story than "because of mental illness and child abuse"? He does not do.

Joaquin Phoenix is ​​played by Arthur Fleck, a potential clown and comedian who lives in a dirty apartment with his invalid mother, Penny (Frances Conroy). Arthur has been institutionalized and now holds weekly meetings with a dedicated psychiatrist in the city (until the city reduces its budget). After a group of children assaulted him while he was at the clock, another clown gives Arthur a weapon. When he falls from his baggy trousers during a performance at the children's hospital, he loses the job.

His life goes from bad to worse: he murders three stockbrokers in the subway and inadvertently inspires crowds of protesters painted for harlequin after Mayor Thomas Wayne's candidate (Brett Cullen, "True Detective") calls the poor city ​​of "clowns" in a television interview. But this act of violence allows Arthur to feel himself seen for the first time. And after the animation by Murray Franklin (Robert De Niro, because who else?) From the famous late-night talk show, which plays scenes of Arthur's terrible routine, to make fun of him, Arthur arrives at a critical point.

If you strip the Joker and his nearly 80 years of history as a cultural icon of this film, as well as all the tributes of the 1970s, you will not have much left, except the performance of Joaquin Phoenix, and that's all you need. is the kind of turn to which he is destined to be divisor. If you like an actor who disappears into a role and affects what appears to be organic human behavior on the screen, this is not your case. Phoenix puts the "performer" in the "performance"; he never stops laughing or laughing (this is part of Arthur's psychiatric illness), hyperventilating or dancing. Some will like it and others will look awkwardly, but it is certainly the kind of work that matches the tone of the film.

The magnitude of Phoenix's work allows the rest of the ensemble – particularly Conroy, Zazie Beetz as a single neighbor and MVP actors such as Bill Camp, Shea Whigham and Brian Tyree Henry – to reduce it. and give performance on a human scale.

The number of times in the film where we are clearly supposed to recognize another movie or a little Batman legend seems to be a play that arouses Phillips' general mistrust of the audience; There is a great revelation that appears unexpectedly, but as a magician who thinks you're not paying attention, Phillips and publisher Jeff Groth ("War Dogs") come back and guide you, step by step, just in case where someone's back might have missed.

The "Joker" policy is also unstable. Web experts from all walks of life will no doubt explain this idea or this line of dialogue to claim what "Joker" represents "really", which means that there is ultimately nothing to do. It will be tempting for some to claim that it is the first art film based on a DC or Marvel property, but that it certainly will be the most important thing. 39, a departure and a kind of risk, "Joker" is ultimately a dark and realistic nihilism. In the nth degree, wrapped in a convincing but ultimately hollow simulacrum of smarter movies.

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