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Joker: Folie À Deux (15, 138 mins)
Verdict: Bold, brilliant sequel
Rating:
A Different Man (15, 112 mins)
Verdict: A touching satire
Rating:
Venice, a city long associated with masks and masquerades, was
the perfect place to unveil Joker five years ago; and last month, at
the venerable film festival there, it was followed by the sequel, Joker: Folie À Deux.
The director is again Todd Phillips, with Joaquin Phoenix once more in the title role,
this time joined by Lady Gaga as what I suppose we must call the love interest, although that would undervalue her wonderful performance.
We've known since A Star Is Born in 2018 that
she can act, but she really is terrific in a bad-girl role.
They'd have loved her at St Trinian's.
This film is audaciously different in style from the original,
not as electrifying, but bold and brilliant all
the same.
Arthur is now behind bars, waiting to see whether he will be judged sane enough to stand trial for murder,
and in the meantime enjoying his celebrity status
with fellow prisoners and even the warders, one of whom,
a sadistic Irishman played by Brendan Gleeson, feeds him cigarettes in return for jokes.
Joaquin Phoenix and Lady Gaga in sequel Joker: Folie À Deux
Joaquin Phoenix in Joker: Folie a Deux - an American musical psychological thriller film directed by Todd Phillips
Joaquin Phoenix reprises his role as the Joker, with Lady Gaga joining the
cast as his love interest, Harley Quinn
Lady Gaga plays Lee, a fellow inmate on her way, we suppose,
to becoming Joker's girlfriend Harley Quinn.
The pair hit it off at a music therapy class,
and are soon mutually smitten, but Lee makes it clear that she loves the dangerously charismatic Joker, 'clown prince of crime',
not the gloomily introspective Arthur.
Read More
Megalopolis review: Coppola's self-indulgent comeback
may be a MEGAFLOPOLIS
Which is more real: the psychopath wearing the mask or
the vulnerable fellow behind it? Either way, identity confusion is the theme of this film, which keeps being billed as a musical.
It's not, really, although music looms large as an expression of Arthur
and Lee's burgeoning love for one another. And there are a couple of swooning dance routines that make them look like psychotic versions of Ryan Gosling and Emma
Stone in La La Land (2016).
Moreover, it is while watching Vincente Minnelli's 1953
classic The Band Wagon that Lee, who claims to have been imprisoned for arson, sets fire to their
prison wing.
The ensuing chaos provides an excellent opportunity
to escape, yet Phillips and his co-writer Scott Silver skilfully toy with
our expectations throughout; each time we anticipate which
way the narrative is going to go, it confounds us by wheeling off
in another direction.
Joaquin Phoenix in Joker: Folie a Deux - an American musical
psychological thriller film directed by Todd Phillips
For me, Joker was a near-masterpiece, and while this sequel doesn't scale
those heady heights, it is still a gripping film about mental
illness, writes Brian Viner
Eventually, after Arthur's high-profile TV appearance with a smug interviewer played by Steve Coogan, it is time for the trial, with all of
Gotham gripped by the subject of multiple personality disorder.
Is the defendant accused of five murders Arthur, or is it Joker?
His kindly lawyer (Catherine Keener) strives to show it is the former; Lee just as urgently wants him to identify as
his demonic alter ego.
Read More
His Three Daughters review: Savour this exquisite elegy to
death and sisterhood, writes BRIAN VINER
For me, Joker was a near-masterpiece, and while
this sequel doesn't scale those heady heights, it is still a gripping film about mental
illness; not quite comparable with all-time greats such as Psycho
(1960) and One Flew Over The Cuckoo's Nest (1975),
but not too far off.
- Joker's Gotham, of course, is a lightly fictionalised version of New York City.
The real thing is the backdrop to A Different Man, another absorbing story, splendidly written and directed by Aaron Schimberg, about an urban loner struggling with life.
In the case of the troubled, self-conscious Edward (Sebastian Stan), an aspiring actor, that's apparently because he has a disfiguring craniofacial condition. Instructional corporate videos seem to be about as far as he
can get in the acting world.
There are obvious echoes of The Elephant Man (1980), and for that
matter of recent release The Substance, in which Demi Moore's character, a former movie star 'disfigured' by a
few wrinkles, finds a way of transforming into her own younger self.
A still from the film A Different Man directed by Aaron Schimberg
Here, Edward is told by a doctor that 'an alternative
path has presented itself'. In other words, medical science
has found a way to reverse his condition, turning him
into a perfectly attractive middle-aged man.
But Schimberg's point, made with great satirical swagger, is that Edward, despite
his radical change in appearance, is still the same person underneath
that he always was.
In his former condition he was befriended by his pretty, charismatic neighbour,
Ingrid (Renate Reinsve), a playwright. Now he is able to fall into bed with her, and to star in a play she has written about their relationship,
little though she knows of his real identity.
I was even reminded of Tootsie (1982) and Mrs Doubtfire
(1993) as Edward's new persona fundamentally fails to
alter who he actually is. This is illuminated by the arrival of Oswald, an Englishman with the same condition Edward once had, but popular, witty, confident,
and gloriously played by Adam Pearson (who really does suffer from
a disfiguring condition called neurofibromatosis).
Pearson is probably best-known for his debut film, Jonathan Glazer's brilliant
Under The Skin (2013). Which is apt, because this
picture, too, is about what's under the skin.
-A longer review of Joker: Folie À Deux ran a month ago.
Both films are in cinemas now.
Paul Weller's film debut? That's entertainment!
The 68th London Film Festival opens next week with the world premiere of Blitz,
director Steve McQueen's drama set in London as the Luftwaffe's bombs rain down night after night.
Saoirse Ronan, for my money one of the most talented actresses of her
generation, plays Rita, an East End mum whose son George (Elliott
Heffernan) goes missing. It sounds intriguing even without the
casting of The Jam's former front man Paul Weller
— in his feature film debut — as Rita's father.
I'm also very much looking forward to another world
premiere, Joy, the story of the three brilliant British medical pioneers whose
work on IVF led to the world's first 'test-tube' baby, Louise Brown, in 1978.
Saoirse Ronan, Elliott Heffernan and Paul Weller in the
film 'Blitz'
It is directed by Ben Taylor, best-known for his TV work on shows such as Sex Education and Catastrophe, and stars Bill Nighy, James Norton and Thomasin McKenzie.
I have heard great things about Conclave, the adaptation of Robert Harris's novel starring Ralph Fiennes and Stanley Tucci.
A couple of new documentaries catch the eye, too. One of them is made by actress Sadie
Frost, whose directing debut was a film about Mary Quant.
This time she turns to another fashion icon of the 1960s,
with a feature called Twiggy.
And Elton John: Never Too Late promises a 'uniquely intimate' look at the star's life and career.
It's been made by his long-time partner David Furnish, so… we'll see.
For more details, visit bfi.org.uk/lff.
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