Todd Phillips makes us discover a new facet of the Joker 2 still unexplored, would it be the beginning of an original cinematographic genre?
While Joker continues to pulverize the box office entrances, Todd Phillips’ film has reinvented comic book adaptations. Indeed, by highlighting the rise of the character of the Joker, the director offers a tortured, colorful film, which dissects the psychology of one of the most iconic movie bad guys. Winner of the Golden Lion at the Venice Film Festival in 2019, Joker puts a slap to superhero movies, so we wonder if this feature film is not about to generate a new genre cinematographic ? Since its release, many are the ones to make return Joker in the box of the films of superheroes. If this is explained by its membership in the Batman universe, the film actually has its own universe. Indeed, by choosing to portray the life of Arthur Fleck, Todd Phillips signs a film based on the life of the future villain, whose humanization may remove his fun side. Moreover, if the character of the Joker, antagonist of the Batman, many times revisited in the cinema, rare are the films adopting the point of view and the vision of a super-villain.
Arthur Fleck about to become the Joker.
Beyond the representation of a descent into hell and the madness of the character played by Joaquin Phoenix, Todd Phillips also chooses to highlight the flaws of society. Ultimately, Arthur Fleck will only trigger the expression of societal ills that are dormant and invisible. If, of course, many films denounce the system, do it under the prism of a super-villain is still original and could pave the way for a new genre cinematographic. Indeed, offering a kind of dystopia Joker is a film of super-villain engaged. Moving closer to series like The Boys and Watchmen, the film noir tackles the difficulties that society’s misfits (exclusion *) can experience, while echoing the reality of the world.
The mythical Joker dance on the steps of Gotham. .
Dark while being of great beauty, Joker also has his own universe. Regarded as a Rated-R movie, Todd Phillips did not want to bother with special effects, a trademark of the Marvel Studios’ major productions, preferring instead a script built, despite some lengths. So, for these reasons, Joker could invent a new kind of movie writing. If this fiber could be partially addressed in the disappointing Suicide Squad by staging the destiny of super villains, it is clear that the film still used the codes of mainstream DC productions. Worked, engaged, Joker testifies for its part of a proper identity, finally approaching an auteur cinema drawn from the world of comics.