Joker Todd Phillips | Review


Published on Oct 01, 2019


There is a visual idea incredible the Joker Todd Phillips, the only thing about the film apart from performance is already legendary for an extraordinary Joaquin Phoenix (destined to win his first Oscar): a scale huge, impossibly long, which seems to suggest almost the passage from one spiritual dimension to another.

It is the scale of Gotham City (New York in reality) that the protagonist Arthur Fleck has to travel to go back to his apartment or vice versa ridiscenderla when out of his apartment he throws himself into the jaws of hell by a metropolis hideous, always humid even with the sun, full of garbage, giant rats, and dangerous people, rude, violent: at the beginning of the film we see Arthur almost climb up the stairs greasy and shiny puddles with all the weight of the toil of the day upon him, the body graceless and thin that rises laboriously from Hell gothamita the idyllic Paradise that is represented by the residence he shares with his mother, an elderly lady by the kind ways that is even more fragile than him.

A scale that combines two worlds, the inner one is safe and the outer where it is easy for you to do it in pieces and you sputino away like spoiled food: it is no coincidence it is precisely on that scale that will begin the climax of the film, with two angels, ready to plunge into the realm of the underworld to nab the Devil, when that fragile balance between salvation and damnation will be already permanently broken.

More do not say why, among controversies about the legitimacy of violence, the amazing Golden Lions), battles between movie fans and nerds on the meaning of cinecomic, and many other topics that in these weeks they are monopolizing the cinema landscape, and not only in the United States and in the rest of the world, the Joker is an absolute masterpiece of cinema history that should be discovered all together, a joke from the sense of humor to say the least black to be told in a single breath, a descent into nightmare that recreates the New Hollywood for the audience of the new generations.

That Taxi Driver (mentioned several times) and King of Comedy (the fundamental inspiration) Martin Scorsese compose the backbone of the film should not be a surprise, given that Phillips had already looked at the director of the upcoming The Irishman a symbol of the thriving hollywood generation for his previous film, War Dogs, in which were mixed the exuberance of The Wolf of Wall Street the story criminal of Those Good Guys ... but with results at the highest discrete.

In the Joker, everything right, everything perfect, everything exemplary, a mix of cinema different that combines the old with the new, creating something completely innovative, very far from the conceptions of cinecomic nolaniano (who had also done something similar, drawing from the cinema of Michael Mann as is that of Scorsese, and the results are more symbolist that visceral, more of the head than the belly) and pretty much the opposite of the elegiac western romantic Logan and James Mangold: there is not a thing that ends up in the Joker, but something that begins, the origin story (the concept of which the film is flipped over to the thread and sign) of those who despite himself becomes the symbol for a revenge, perhaps, bigger than him.

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