It's kinda a double standard flaw when it comes to "realistic" deconstructions of comic books where the story is usually stripped of anything remotely fantastical for the sake of said realism yet usually the society said movies portray, while usually explored more in depth, don't actually act more plausibly than those presented in "standar" comic book stories.
Most likely it was another nod to Taxi Driver, which was shot during a garbage strike (hence why that many garbage can bee seen in the background throughout the duration of Scorsese's 1976 film).
Which was already a central theme in Dark Knight Returns. I mean, I konw it's Go0tham and that the whole urban nightmare subthemes have been there since practically the late 70s but... don't know it's time to kinda mopve on and explore other narrative routes.
I liked the film though.
Quite true on all counts.
definitely has a large number of threads which were at the core of much of The Dark Knight Rises
, which was more ambitious--perhaps in wobbly fashion at times--by drenching itself in the history of the French Revolution, Revolutionary Tribunals, Charles Dickens's A Tale of Two Cities
, Bane himself wearing clothing which seems to strongly resemble the garb of Vladimir Ilyich Ulyanov, or Vladimir Lenin, coming out in 2012 hot off the heels of the predictable late-2000s financial earthquake and subsequent massive corporate bailouts, the Occupy Wall Street protests, and more. Joker
's screenplay is its greatest weakness, with it telling the audience what it is showing the audience, showing the audience some, and then going back to telling. As said earlier by
; much of it honestly makes some of the screenplays for Christopher Nolan-directed films comparatively nuanced.
I saw that as more of a triumphant moment for Arthur, signaling he finally had has confidence to become Joker. In my opinion, the song supported this along with the euphoric dancing on the steps. In Arthur's mind, he's his own crowd cheering him on to do whatever it is he's gonna do. As far as audiences "rooting" for him, I think that went out of the window when he killed Penny and got compounded with what happened in his apartment. This was just preparing us for something to go down soon.
If we ever get a sequel with Joaquin, then we'll see that fully formed Joker we all know. This film was simply about the journey to become Joker.
This was definitely his wish-fulfillment fantasy come to life; his dream world and the reality he was living had finally merged, so to speak. In that sense the film succeeds in what it aims to accomplish, by having Arthur/Joker traverse a trajectory that is psychologically not unlike Travis Bickle's, though vastly more deleterious to society. He simply had not channeled his destructive masculine energy toward something understandable; Bickle, as a man of violence, a Vietnam War U.S. marine veteran, slaying pimps and gangsters is an heroic act lionized by media while unbeknownst to almost everyone he was preparing to save the one princess virgin (Betsy) from her master (Charles Palentine) before saving the other (child prostitute) princess virgin from hers. Bickle's grasping of his distorted conception of his own being, his id
, as it were, predestines him toward his outburst of violence as he himself roughly states through his diary writing. Arthur's transformation is different and rightly so, but his donning of what is perceived as the attire of "Joker" represents something similar to the unveiling of Bickle's mohawk.
You did not know that?
Loved Joaquin Phoenix's vocalizations, cadence, tone, everything he did vocally. This is not the "Mythic Joker" of Heath Ledger and it is not the "Goofy Crime Boss Joker" of previous incarnations but "Loser Loner Joker." The failed mentally ill comedian who becomes a narcissistic mass murderer.
His voice was not so high that he audibly resembled Casey Affleck but his vocal performance did bring the actor to mind.
Also, the previous post was assembled in only a few minutes, and rather shoddily, too (apologies). Should have mentioned that the first major sequence on the subway was highly reminiscent of Michael Winner's Death Wish
, and the film's best, most suspenseful sequence, that of the two cops--good to see Bill Camp and Shea Whigham, two of this time period's more understated character actors, continue to score roles for which they are overqualified--was definitely taking a page out of William Friedkin's The French Connection
(Arthur seeking out the last of the Wall Street trio hit that lovingly, too). The cinematography by Lawrence Sher seemed to be evoking those films, too, with a muted duskiness, drowning Gotham City in a kind of moldy, sickly hazel light mist. One element visually that was fairly excellent was how the vividness of the motion picture seemed to gradually increase as Arthur/Joker lapsed into full psychotic narcissism; his dancing atop the stairs seems to represent both the conclusion to the life of "Arthur" and the nascent budding of "Joker" with the picture brilliantly capturing the splashes of water from beneath him as though he is dancing in the primordial fluid.