Take a look at the photo above. It’s the most poetic image to have emerged from Todd Phillips’ “Joker,” and the reason I say “poetic” isn’t just because the shot has that ca…
,” and the reason I say “poetic” isn’t just because the shot has that caught-in-action indelible vibe of a quintessential movie poster: graphic, hauntingly composed, a bit shocking . It’s poetic because of what it means.regalia for the first time , turns his face toward the sky as if smiling at a higher power. It’s a moment of worship; his posture and gaze are ecstatic.
Arthur’s escape hatch is violence. He discovers who he is — or who he can be — when he’s attacked in public, and instead of cowering and taking it , a force within him decides that he has to fight back. On that subway train, as three Wall Street louts taunt him and start kicking the crap out of him, he reaches for the pistol he’s carrying and shoots. At the end of his killing spree, all three are dead. It’s the sort of sequence we’ve seen in a thousand movies, from “Death Wish” on.
But that betrays a fundamental misunderstanding of how movies work. “Joker” isn’t a drama about one isolated, festering demographic of hatred in our society. Like all great pop fantasies, it’s aWhat it’s expressing is the inner tenor of a certain moment in time — in America, and maybe the world — when hate has begun to take over. The culprits seem obvious enough. A U.S.
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