‘Joker’ Sequel Delves Deeper, Featuring Dark Ballet with Lady Gaga

“Joker” left an indelible mark on Hollywood’s landscape, a dark and audacious portrayal of the iconic Batman villain, delivered through Todd Phillips’ Scorsese-inspired lens. Grossing over a billion dollars at the box office, propelling Joaquin Phoenix to his first Oscar win, and sparking widespread cultural conversation, “Joker” established itself as a cinematic milestone. Love it or hate it, it affected viewers profoundly.

Rather than treading the same ground, Phillips and Phoenix chose to venture into uncharted territory with “Joker: Folie à Deux.” This sequel delves deeper into Arthur Fleck’s twisted psyche as he faces trial for murder and spirals into a turbulent romance with Arkham inmate Lee, portrayed by Lady Gaga. This new narrative is accentuated by musical elements, showcasing singing, dancing, and chaos.

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Phillips and Phoenix are well-versed in crafting fear, and they didn’t shy away this time, aiming for another daring, polarizing work. Audiences will judge this for themselves when it hits theaters on October 4.

Sequel speculation inevitably follows any billion-dollar comic book film, but with “Joker,” it wasn’t certain due to Phoenix’s reluctance for sequels. Yet, Phoenix remained intrigued by Arthur Fleck’s potential in new scenarios. He and the on-set photographer even created Joker-themed posters of films like “One Flew Over the Cuckoo’s Nest” and “Yentl” to incite Phillips.

Phoenix’s enduring interest in Fleck led Phillips and co-writer Scott Silver to pen a script that immerses audiences in the music within Arthur’s head. Fleck’s dreary life brightens when he meets and falls for Lee, a Joker enthusiast. For Phillips, Phoenix’s desire to be as challenged as with the first film necessitated creating something equally bold and unconventional.

Casting Lady Gaga, known for her powerful vocal abilities, as Lee—a character who isn’t a singer—has sparked debate. Phillips valued Gaga’s musical essence, yet Lee’s character demanded a departure from her typical musical expression. Gaga rigorously untrained herself to avoid slipping into her natural performance style, striving to inhabit Lee authentically.

Phoenix was pleasantly surprised by Gaga’s lack of pretense and dedication to character immersion. He admired her willingness to forsake her vocal prowess to serve the character, a significant and impressive sacrifice.

Adding to the film’s musical elements, Gaga composed a “waltz that falls apart” and is releasing a companion album titled “Harlequin,” featuring tracks such as “Oh, When the Saints,” “World on a String,” “If My Friends Could See Me Now,” and “That’s Life.”

Though aligned with the Joker saga, Gaga’s Lee is distinct from Margot Robbie’s Harley Quinn in “Birds of Prey.” Phillips deliberately took Lee in a different direction, emphasizing her internal turmoil rather than external flamboyance. Gaga invested considerable effort into creating Lee’s intricate inner life, embodying a character on the verge of explosion.

Joining the ensemble, Brendan Gleeson, who previously worked with Phoenix on “The Village,” admired Phoenix’s relentless integrity and drive. Gleeson didn’t want to play a mere brute but sought depth in his Arkham prison guard character, aligning with Phoenix and Phillips’ preference for complexity over simplicity.

Known for his fondness for mayhem, Phoenix insisted on keeping the set dynamic, often improvising and altering scenes for authenticity. Phillips embraced this chaos, believing it contributed to the film’s raw, unpredictable energy.

The familiar crew returned, ready to adapt, and Gaga’s suggestion to sing live on camera added another layer of spontaneity. This approach transformed the film’s production, requiring unique live performances for each take.

Since Arthur’s public and violent act against Robert De Niro’s Murray Franklin in the first film, he’s become an infamous figure. Now, his trial, paralleled with America’s penchant for turning serious matters into entertainment spectacles, will be televised, further exploring societal corruption and the merger of justice and entertainment.

Phillips acknowledges the increased scrutiny with a sequel, particularly given “Joker’s” underdog origins. Despite the spotlight, he remains focused on creating a compelling narrative, unfazed by the pressure of matching the first film’s success.

Gleeson views the film’s blend of arthouse integrity and blockbuster appeal as a hopeful sign for cinema’s future, suggesting that such complex event movies have a vital role in the industry.

While the label “musical” can be contentious, Phillips clarifies that “Joker: Folie à Deux” encompasses musical elements but diverges from the typically uplifting trope of the genre, imbued instead with profound sadness. The film intends to manage audience expectations while offering a unique, poignant experience.