Joker

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The fact that DC and Warner Bros. have not yet succeeded in building their own cinema universe based on the model of Disney and Marvel also has its good sides. Because if the constantly stuttering DCEU were just as tiring money printing machine as the MCU, then those responsible would certainly not have given the green light for such a completely out of the ordinary film like "Joker". The risk would simply be far too great that it would damage the brand - and the casual viewers would not understand why there are suddenly two Jokers to be seen in the cinema at the same time. Unfortunately, the joy of the existence of a film like "Joker" is greater than the joy of "Joker" itself. "Hangover" mastermind Todd Phillips has dared to make a New Hollywood retro comic film - and then only a weak one Copy of two of the masterpieces of his near-producer Martin Scorsese delivered, which also tackles the Joker, one of the greatest, most fascinating and most abysmal comic villains with flat kitchen psychology.



Arthur Fleck (Joaquin Phoenix) is a loser, as he is in the book. While he takes care of his sick mother Penny (Frances Conroy) at home, he whirls advertising signs for sales on behalf of a clown agency around in the street, with which he is then only beaten up by youth gangs in the narrow streets of Gotham City . But then Arthur, who swallows seven psychotropic drugs at the same time, receives a revolver from his colleague Randall (Glenn Fleshler), which is used shortly afterwards: Arthur, masked as a clown, slams three assaulted yuppie assholes in the subway - and unintentionally starts an anti-establishment movement. At the same time, Arthur is also pursuing his stand-up career - with so unbelievably little success that he falls into the sights of late-night presenter Murray Franklin (Robert De Niro) as the most uncomfortable comedian of all time ...






TV presenter Murray Franklin discovers the Joker.

Martin Scorsese didn’t come on board as a producer because of other commitments, but of course it’s obvious why he was asked in the first place, even though the “GoodFellas” director is actually not the most obvious choice for a comic blockbuster seems to be: "Joker" is ultimately a quasi-mash-up from the eponymous "Batman" villain and the Scorsese masterworks "Taxi Driver" (in which Robert De Niro breaks on the increasing dirt and madness of the city and finally runs amok ) and "The King Of Comedy" (in which Robert De Niro breaks down on his unrealistic stand-up ambitions and finally runs amok). Nobody makes a secret of it either. To deny it wouldn't make any sense anyway, after all, whole storylines were taken almost one-to-one from the two classics. Almost every scene from "Joker" can be assigned directly to one of the models (and a pinch of "witch's cauldron" is also included).

But to get straight to the point: Todd Phillips is not a Martin Scorsese! Together with his cameraman Lawrence Sher (“Godzilla 2”) he competently reproduces the grainy, rough look of the 1970s Scorsese, but with his “Joker” he only delivers an incredibly dark, but largely soulless and unimaginative copy. When Arthur is kicked together in the first scene, the blood does not run out of his mouth, but the water from the spray flower that goes with his clown costume. This is also the last time that “Joker” really surprises its audience. Apart from that, everything turns out exactly as expected from the start - only the emotional impact is disappointingly subdued.


The best remedy for super rats? Super cats!


In Gotham City, which looks even more like Scorsese's cinematic hometown New York here, the garbage disposal has been on strike for a long time, and the news is already reporting super rats. But in contrast to the Scorsese models, the simmering on the streets of the city in "Joker" remains a mere assertion. In the plot itself it is formulated (over) clearly, for example when Arthur's social worker explains to him that she will no longer be able to support him because of further budget cuts and that none of those up there would be interested in someone like him anyway. But you don't feel it. Phillips just doesn't manage to boil up the feverish atmosphere of the city that is about to explode in the cinema (DC did that much better in the first quarter of an hour of "Batman v Superman").

"Joker" leaves you surprisingly cold in view of all the pent-up anger - and even a sudden, ultra-brutal spike of violence cannot change that. Especially since the drawing