[Film Review] “Joker: Folie À Deux” and the Trial of the “Shadow”

In 2019, Joker created a global sensation. With 11 Oscar nominations, including Best Actor for Joaquin Phoenix, and box office earnings surpassing $1 billion, Joker officially became the highest-grossing R-rated film of all time, until Deadpool and Wolverine reclaimed the title in 2024. With immense profits and a multitude of prestigious awards, Warner Bros’ decision to produce Joker: Folie À Deux was therefore inevitable.

The desperate love of the poor clown.

Continuing the haunting story of Arthur Fleck—the man who shook Gotham with the grotesque visage of the Joker in the first installment—Joker: Folie À Deux takes us to Arkham Asylum, where he is now a notorious inmate. After two years of confinement and abuse at the hands of guards led by Jackie Sullivan, he lives in a small, filthy cell and is only let out each morning to pour urine into a sink. Now, Arthur is nothing but skin and bones, with a soulless expression, about to face a trial of the century.

By chance, Arthur meets Lee during a music therapy session. The girl with bright, radiant hair ignites a spark in his bleak life. Their relationship deepens during a viewing of the classic film The Band Wagon by Stanley Donen in the common room. Here, Lee expresses her desire to go outside and seeks to disrupt the screening by setting a piano on fire.

Amidst the chaos, the two share a fleeting taste of freedom before returning to their confinement. At this moment, Arthur is completely captivated, lost in daydreams filled with singing, dancing, and vibrant sounds, where he transforms into the Joker. They are not just lovers; they are two pieces of a fragmented soul, seeking harmony in madness.

Lady Gaga infuses her portrayal of Harley Quinn with cunning and finesse. Her character is mysterious, intelligent, yet equally unhinged. The haunting backstory of her past, marked by a childhood of abuse in a harsh part of Gotham, reveals that her mother sent her to a place that masked the truth of her life as a cherished girl with parents who valued her, including a father who was a doctor in a prosperous neighborhood. The contrast between what Lee says and her mysterious reality adds multiple layers of intrigue and depth to the character.

Lee’s arrival is not only about love, but also a test. We witness Arthur’s internal struggle between his two selves: the clown and his true identity. Each time Arthur interacts with Lee, the audience experiences moments of elation mixed with the torment of his inner conflict.

Arthur Fleck was once just a poor clown, living in the shadows of Gotham’s society. Suffering from psychological disorders, he became a target for bullies, even from children. A victim of a flawed society, he was pushed toward violence by the system’s failures. For the first time, he tasted the sweet, fragile joy of love. He was happy, but also terrified of the fleeting happiness he had found. He feared returning to being Arthur—an outcast, struggling with loneliness and rejection, doomed to be rejected until the day he dies. But he also feared becoming Joker, a criminal, because now he was to be a father—a chance to be a father.

Lee’s love and the profound responsibility of fatherhood gave a man, fully disguised under the mask of the Joker, the courage to return to his true self. It was a perilous journey, one not only marked by rejection from the world but also by plunging him into despair, where all traces of identity seemed erased. This return was not merely about seeking forgiveness; it was about accepting the price of truth, accepting that Arthur is Arthur, not his “shadow.”

In the film, music becomes the expression of Arthur’s deepest emotions, ones he cannot put into words. It represents his own private world of imagination and serves as the bridge of communication between him and Lee.

The performances blend together in dreamlike sequences where two mad souls find their moment of glory—singing, narrating, speaking to each other, and imagining themselves in a Hollywood musical or talk show. Each time the music plays, the thin boundary between reality and fantasy becomes blurred, sometimes leaving the audience confused, unsure of what is real and what is imagined.

The Crime of the “Shadow” and the Journey to Reclaim Identity

After turning Arthur into an anti-hero in the first film, introducing Joker to the grimy city of Gotham, fueling the rise of an army of fanatical followers, and sparking riots, Joker: Folie à Deux takes a step back. The film portrays Arthur as a man grappling with the consequences of a movement he never intended to ignite.

The film opens with a reenactment of a classic scene through a short animated film titled Me and My Shadow, where Arthur, dressed as a clown, shoots a talk show host on national television. The premise of the first film portrays Arthur as a miserable, desperate madman, truly possessed by his own murderous shadow. Even when he wears clown makeup and the red suit, he remains just an ordinary loser pretending to be a grand villain. Beneath the glossy surface of the Joker lies a weak and trembling Arthur, small and fragile.

Joker: Folie À Deux largely unfolds as a courtroom drama, where Arthur faces a seemingly unwinnable trial—not just his own trial, but in reality, the trial of Joker, the trial of his shadow. Arthur knows that his only hope lies in a plea of insanity and personality disorder, yet he longs to reclaim the identity of Joker—the chaotic, terrifying figure his lawyer urges him to abandon. This identity brought him fame, a sense of purpose, and, most importantly, a profound connection with Lee.

From here, the film successfully builds two intense trials: one that prosecutes Arthur/Joker, and another within his mind, where Arthur is forced to choose his identity—who will I be, myself or my shadow? Unfortunately, both Arthur and Joker lose in both trials. Even though Arthur returns, he cannot escape the death sentence. And because he returns as Arthur, he is no longer the person Lee desires. Once again, the poor clown is left behind.

Joker: Folie à Deux ends with many questions left unanswered. The ambiguity in the relationship between Arthur and Joker leaves viewers with a sense of dissatisfaction, but it is this very element that creates an irresistible allure. The film is not just a piece of entertainment; it also opens up a space for reflection on love, psychology, and the search for identity.

It’s no exaggeration to say that Joaquin Phoenix is the soul of Joker: Folie à Deux. Returning to his iconic role, Joaquin once again masterfully portrays Arthur Fleck, with his gaunt figure, sunken cheeks, and deeply intense gaze. His range of expressions—from wild, maniacal eyes to an innocent smile, from an explosive, rage-filled Joker during the hearing to a gentle, tender Arthur beside Lee—showcases his incredible versatility. Audiences will witness a constantly evolving Arthur, capturing every nuance of his emotional journey.

Lady Gaga is equally impressive in her role as Joker’s lover. Drawing from her previous successful performances, such as A Star Is Born, she skillfully blends her outstanding vocal abilities to create captivating and powerful scenes.

Lady Gaga’s portrayal not only bears her distinctive personal touch but also demonstrates a seamless fusion between the character and herself, delivering a fresh and unique version of Harleen Quinzel that stands apart from previous depictions.

Joker: Folie à Deux takes the audience through at least a century of Hollywood cinematic history. The film begins with an animated sequence in the style of Looney Tunes, directed by Sylvain Chomet, then shifts to a prison film genre reminiscent of The Shawshank Redemption. It later transitions into a musical and finally culminates as a courtroom drama.

The musical scenes between Joker and Harley are meticulously staged, reminiscent of the beauty in Damien Chazelle’s La La Land. The creatively executed one-shot sequences, interspersed with tracking shots following Arthur and Lee, create a feeling that they exist in a dreamlike world, entirely detached from the surrounding reality. Their fantasies are both beautiful and profoundly distant.