Expectations were high as “Joker: Folie à Deux” hit theaters on Oct. 4 this year. With a budget of $200 million and the star power of Lady Gaga as Harley Quinn and icon Joaquin Phoenix as Arthur Fleck, audiences anticipated quite the cinematic experience. Instead, the film had a shockingly disappointing performance — Its box office pull of $40 million considered a major loss when compared to the budget. To add insult to injury, the film earned a “D” score from CinemaScore, raising potential questions regarding the efficacy of the fusion of genres and the implications in its storytelling.
After a steady run of movie misses based on DC comic book characters, Phoenix’s performance in “Joker” (2019) gave Warner Brothers hope for future adaptations like “Joker: Folie à Deux.” The first film shook up the oversaturated superhero movie genre — dominated by competitors at Marvel Studios —and paved the way for grittier takes on the beloved characters.
“Joker: Folie à Deux” was expected to be more of a deeper exploration of characters and their stories following “Joker” (2019). Audiences were anticipatory of a continuation of the darker themes presented in the first film, potentially involving more complex interactions with Harley Quinn. The musical direction that was marketed to audiences hinted at a new artistic direction taking place, sparking much curiosity about how it would blend with the established tone of the first film.
This film was marketed as not just a musical, but a thriller as well, which was both an intriguing and bold choice for the adaptation, aiming to blend the emotional depth typically associated with musicals and the psychological intensity of thrillers. This combination allowed a different kind of exploration into the chaotic psyche of Arthur Fleck through song, having the potential to offer a unique insight on mental health and social alienation struggles faced by Fleck. However, the ambitious blending may have unintentionally confused audiences who were expecting something more traditional.
While musicals often rely on heightened emotion, thrillers demand suspense. If not executed well, the genre blend can feel heavily disjointed — leading to a narrative that lacks coherence, which some say is the case here. The film’s attempt to balance the elements of the two genres may have contributed to its disappointing reception from audiences who were grappling with a storyline that gave them whiplash, swinging between musical numbers and dark psychological drama.
With such an ambitious stylistic route ahead, the casting department was handed a major opportunity to choose actors who could really deliver. We saw Joaquin Phoenix in the world of “Joker” before back in 2019, but Gaga was a new addition. In my opinion, Gaga is an obvious choice when attempting to create a film of this nature, considering her history of performances that often transcend traditional boundaries. Her multidimensional nature allows for her to engage deeply with the emotional stakes of her characters.
This is not Gaga’s first rodeo. “Joker: Folie à Deux” marks her third major acting role, following acclaimed performances in “A Star is Born” and “House of Gucci.” Her ability to inhabit complex characters, potentially drawing on her own experiences with fame and identity, has worked well in her favor twice before. In the case of “Joker: Folie à Deux,” she brought a layered understanding of both Harley Quinn’s interesting allure and inner turmoil.
Phoenix set the bar high for his performance, as well. His performance in “Joker” (2019) had audiences excited to see him back once again. With an Academy award, a Grammy award, a British Academy Film award, a Screen Actors Guild Award, and a couple of Golden Globe awards behind him, what film could he not turn to gold?
Despite all of this, the success of acting approaches hinge on the material, as well. If the script and story does not resonate, even the most talented stars can have a hard time connecting with their audiences.
This was clearly the case for “Joker: Folie à Deux,” as the box office numbers and “D” score indicate a profound disconnect between the film and audience. Critics have speculated that the film’s unconventional approach to genre, as well as the lack of clear direction, may have caused the disconnect. In a landscape full of comic book adaptations, a film that strays so far from the expected formula comes with risks of losing its audience.
Many fans anticipating the film had their own critiques on social media after their viewings. One post by @Cade_Onder on X reads:
“Joker 2 is a musical that never really finds its rhythm. I applaud it for being something I have never seen before, but its extremely disjointed and I’m not sure anyone knew how to make a sequel to the previous movie… so we just get something that treads water for 2+ hours.”
This idea seemed to be the general consensus among disappointed viewers, critics, and fans of “Joker” (2019). I agreed.
Ironically, my two favorite genres are thrillers and musicals. I thoroughly enjoy the creativity and fast-pace of most musicals as well as the anticipatory feeling I experience through the heavy suspense of most thrillers. My love for both genres boils down to the fact that they keep me extremely engaged with the story — which can be a challenging feat considering my own susceptibility to distraction.
Unfortunately, the musical numbers of Joker: Folie à Deux” felt disjointed and out of place, which is rare for me. The film did not bring any engagement out of me as a viewer, even though that was the singular thing I went in expecting out of the experience. There was potential for some genre fusion success, but it missed the mark.
The lack of coherence left me feeling disengaged with both the characters and the story itself. This could be attributed to the fact that I am not a huge move buff, although I entered into the experience open-minded and expecting the opposite of my experience. I was interested to see if the juxtaposition of the fast-pace musicality and the darker aspects of the characters would leave me feeling unsettled — another thing I appreciate about thrillers. The suspense aids in the engagement aspect for me, but because of how quickly I felt lost and disengaged from the story, I was not able to fully enjoy and experience the suspenseful moments in the ways they were intended to be felt.
In addition to the genre fusion fails and lack of coherence, the marketing of the film may have added to the confusion and overall failure of the film. The musical thriller promotion may have caused audiences to enter the theater with great expectations of classic upbeat numbers and thrilling action. They inevitably found themselves encountering a much darker narrative that does not associate with either the typical musical or thriller.
While Lady Gaga and Joaquin Phoenix deliver impressive performances, the film’s goal of mending musicality and psychological depth may have led it astray. As filmmakers continue to experiment with genre fusion, this film will serve as a reminder of the importance of thoughtfulness, intentionality, clarity and coherence in storytelling.
In a world where audience engagement and approval is of great importance, “Joker: Folie à Deux” highlights the risks of straying too far from established norms in the world of film. As we process and dissect the film’s failure, we can also appreciate the unique contributions of its stars, particularly Gaga, whose artistry continues to challenge the boundaries of performance.
The journey have have been rocky, but if anything, this film opens the door for future explorations of genre fusion that could potentially resonate with audiences.
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