Joker‘s Rise to Oscar Dominance Is Not an Underdog Story—However That Narrative Certain Helped Get It There


As each Oscar prognosticator within the land focuses on all of the movies, administrators and actors who weren’t nominated for an Academy Award on January 13, the film with the largest number of nominations chugs on, noisily, like a rubbish scow slogging by the night time. On Monday, Todd Phillips’ revisionist origin story Joker acquired 11 nominations, together with Greatest Image, Greatest Director, Greatest Actor, Greatest Clown on a Staircase Dance Set to a Soccer Stadium Favourite Recorded by a Convicted Child Molester, and so forth. You possibly can spin the narrative of Joker‘s success this way: Somehow this dystopian picture about a mentally anguished young man—played by Joaquin Phoenix—who’s pushed to a killing spree as a result of he was failed by society has surged forward of extra conventional contenders to develop into an Oscar frontrunner. It’s the Hollywood success story of the season: Finally, a film primarily based on comic-book supply materials has been acknowledged as artwork! The poor little underdog lastly has a shot at successful.

Not less than, that’s a method of taking a look at Joker’s Oscar-nomination sweep. And it strains up with the way in which Phillips himself spoke of the film, in an interview he gave to The Wrap in September, shortly after his film gained the highest prize on the Venice Movie Competition but in addition after it got here underneath assault each from individuals who feared it might spur gun violence and from individuals who merely thought it was a foul, silly, ugly film with a poisonous coronary heart. (I’m within the latter camp.) Within the interview, Phillips explains what he aimed to do from the beginning: “We didn’t make the movie to push buttons,” he stated. “I literally described to Joaquin at one point in those three months as like, ‘Look at this as a way to sneak a real movie in the studio system under the guise of a comic book film.’ It wasn’t, ‘We want to glorify this behavior.’ It was literally like ‘Let’s make a real movie with a real budget and we’ll call it f–ing Joker.’ That’s what it was.”

In the identical interview, Phillips lamented what he noticed as closed-mindedness amongst individuals who had spoken out in opposition to the movie. “I’m surprised… Isn’t it good to have these discussions? Isn’t it good to have these discussions about these movies, about violence? Why is that a bad thing if the movie does lead to a discourse about it?” However Phillips’ response to what he noticed as a “far-left” assault on his heartfelt “real movie” betrayed greater than a touch of sourness: “What’s outstanding to me in this discourse in this movie is how easily the far left can sound like the far right when it suits their agenda. It’s really been eye opening for me.”

In Phillips’ protection, there have been—and proceed to be—many who’ve spoken out in opposition to Joker with out bothering to see it. Additionally he’s proper about this: artwork doesn’t trigger violence, and may’t be held liable for any act of violence that may happen, even when the perpetrator claims or seems to have been influenced by that artwork.

However none of that makes Joker a very good film. And the regular but in addition considerably predictable box-office climb of Joker doesn’t make the image an incredible dark-horse story. The film introduced in roughly $96 million domestically on its opening weekend, and as of early January had grossed greater than $1 billion worldwide; relative to its comparatively modest $62.5-million finances, it’s some of the worthwhile comic-book motion pictures of all time.

Critics, to the diploma that they matter within the bigger dialog—particularly the awards dialog—have been divided on Joker: Some liked it, some liked it with reservations, some hated it outright. The filmmaking has a blunt, garish vitality—it borrows closely from Martin Scorsese, each in its story line and its filmmaking fashion, although it doesn’t have the fine-grained emotional texture of even Scorsese’s grittiest movies, like Taxi Driver or Imply Streets. And whereas many love Phoenix’s efficiency, it does come off because the sort of showy, Methodology signpost performing that the Academy typically responds to. Phoenix is a usually marvelous actor who’s able to nice subtlety even when he’s enjoying larger-than-life characters, as in James Mangold’s Johnny Money biopic Stroll the Line. His efficiency in Joker is broad, assertive, bodily disciplined—and surprisingly pressured and empty.

But he, Phillips and the film total have develop into commonplace bearers for a lot of comic-book followers who consider their lifelong obsession remains to be frowned upon by society. It doesn’t matter that movies primarily based on Marvel characters—and, to a lesser extent, DC characters—at the moment make a lot cash on the field workplace that they eclipse practically each different big-studio undertaking. If comic-book followers are such an oppressed minority, why is a lot Hollywood product being tailor-made particularly to their needs, on the expense of practically all different kinds of motion pictures—motion pictures about common people with jobs and issues and love lives, and even so-called dumb comedies that carry a spark of genius (assume Dumb and Dumber or Step Brothers)?

That’s to not say {that a} film tailored from a comic book ebook can by no means be a piece of artistry. Black Panther, additionally a crowd pleaser and the one different comedian ebook adaptation to obtain an Oscar nomination for Greatest Image,, was a fantastically made image with a beneficiant spirit. However even when its many supporters have been passionate, the discourse round it by no means reached the extent of acidic aggressiveness that’s been swirling round Joker since its launch. Everybody desires to be the put-upon underdog, and each Joker and the success of Joker play to that self-centered impulse. In a recent interview within the Paris Overview, Anna Wiener—writer of the newly revealed memoir Uncanny Valley—stated, “I think people are incredibly reluctant to surrender that underdog identity, regardless of how true it was, then or now.” Wiener was speaking about Silicon Valley’s shift over the previous 20 years from countercultural idealism to venture-capital-fueled libertarianism, however the identical goes for comic-book followers: They’ve a lot invested of their imaginative and prescient of themselves as misunderstood, tyrannized misfits that they will by no means let go. They’re now louder and extra highly effective than ever. Give them all the Academy Awards. Or else.

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