Any movie that has been produced since the beginning of the media and, in general, any artistic creation, belongs to the discipline that belongs, is irremediably daughter of her time. Limiting ourselves to our beloved seventh art, it is not complicated to find several examples that illustrate this statement, particularly within the genre cinema; and to show there is the terror of the 50 heir of the anti-communist paranoia or the derivative of the attacks of 9/11 of 2001.
In regards to 'Joker', we could conclude that its conception is the fruit of our time for two very different reasons: the seemingly inexhaustible boom of the pajamas comic on the big screen and a socio-political reality represented by Todd Phillips in a Gotham more New Yorker than ever, dominated by disenchantment, tension, abandonment of the high spheres, and an insurmountable chasm between classes.RELATED
These two levels of convenience have ended up coming together in a couple of smart hours through which it is built. A real gem, ironically timeless, which wanders between raw 70's raw ones that seem drawn from the handwriting of Paul Schrader, and a 2019 he was screaming for a brave feature film, that refused to give explanations and that invited us to piss off… but always with a smile on his mouth.
A jewel that does not understand times, daughter of past times and resulting from present realities
If we focus on the world of the vignette of DCThere is no doubt that the Elseworlds – stories that are set outside the official canon of their characters and that explore different backgrounds and environments – have always stood out for offering more lucid, attractive and even delicate views
In this case, Phillips and screenwriter Scott Silver, fleeing from any printed reference, have shaped a new genesis for Prince Clown of Crime Gothamite more human and earthly than ever. A splendid character study and an overwhelming exercise of empathy with a manual villain that brings the universe of bat man to ours more than ever.
On the immense list of virtues that make 'Joker' one of the best films of the year – and that fully justify his controversial Golden Lion -, it is necessary to vindicate the boldness of the large responsible study to risk giving a green light to a project of this nature, not only in terms of thematic, but also in relation to its stylized form. We are therefore facing the only way Warner has to face his direct competition, and before a type of work that very few trusted to see materialized today.
Why if something defines 'Joker', that is his freedom. A concept that includes everything from its huge camera work and staging to a Joaquin Phoenix from Oscar, unleashed and delivered to improvisation; going through a tone and treatment of violence that do not make concessions and that refuses to bend the knee – in fact, this is done explicitly during a scene – in front of those moralizing speeches and wheels of the offense how much they are styled today.
It is this independence, in this self-confidence to transmit controversial messages without a clipper that they only urge us to be aware of our surroundings, where many are seeing something dangerous; perhaps, precisely because of that custom of whiteness, purity and Manichaeism to which the great Hollywood productions are accustomed to us.
But 'Joker' is not, far from it, a threat. The really worrying thing is that the public is in the compromised situation of identify with attitudes as heinous as those of its protagonist After discovering that the weather in Gotham does not differ much from the one we live on the other side of the screen.
And, as I said, we are facing a film of rabid news that must fight against unfair prejudices for finding its origin in the ninth art in times of super powers and spandex suits everywhere, but which, in turn, is able to lift blisters. And that, beyond any filmic goodness, is what ends up elevating a feature film from greatness to excellence.