Joker (2019 Hollywood) : Carnival of Death

2019 is an exciting year for Hollywood for quite a few most awaited movies, starting from Avengers the End Game, Spiderman Far from Home, Rambo – Last Blood, Once Upon a Time in America & Joker.  Barring the ‘….Endgame’ and ‘Spiderman…’, the other 2 didn’t succeed at BO /receive much critical acclaim. Joker right from the teaser and trailers had created a lasting impression & it won’t disappoint you, well almost but not entirely! (And I know I would get a beating stating that)

Like always I won’t be revealing the storyline. Since almost every frame has Joaquin Phoenix in it, this review ought to be covering more of his portrayal of Arthur Fleck and the Joker.

But it’s quite a craft on many fronts (with some lows), Story, Screenplay, Production Design, Cinematography (and lighting), Makeup & Hair, and Editing.

Story and Screenplay: 
It’s a bold take to create a completely different character out of a money spinning Superhero flick while knowing it may not earn those many $$ at the Box Office.

This version of Joker is the darkest, most violent & maniac as compared to all the preceding ones. This Joker seems to be more of Jack the Ripper/Raman Raghavan- serial killers sorts. 

While the key conflict looks to be Arthur wanting to live a normal life, becoming a famous Stand Up comedian, it gets swayed away by his menaces. Bit confusing as it doesn’t get viewers sympathy towards antagonist while there is no Hero in the movie.

         Todd Phillips & Scott Sliver’s plot glorifies all the violence & killings by the Joker. Also in the end it is revealed that some of the events were just the hallucinations of Joker, and then I / one can get lost in thoughts if the entire movie is just what was played in Jokers mind. If anything was for real?? (Need to see this few more times: The Christopher Nolan way to attract more revenue… Well, not really, repeat audience is more for his intellect)

-       While storytelling keeps you in awe it probably creates lesser impact of its inspirations - Taxi Driver (1978) and The King of Comedy (1982) both masterpieces by Martin Scorsese.

Cinematography, Lighting, Production Design & Make up: 

There are a few scenes where you remain stunned with the camera movements typically when Joker is frantically running on a dark street/tunnel after the killing in metro & the long shadows used on the backdrop of NYC can be remembered for long. Similarly the scene at Hospital when he was running in the corridor with stolen hospital files; & then few close ups of his across the movie.  

Being a dark, period fantasy the choice of colors and hues are leaning towards pastel, sepia, typically shades of brown, grays, olive greens. Bright colors are used scarcely when Joker is in his own ‘Delighted mood’ or during the scenes involving Robert De Nero. Most of the shots are interiors so not much of a challenge creating 1980s. 

But the costumes could have been bit more authentic for early 80s. Bell bottoms etc. could have been part. Also use of Steep Stairs on the street not necessary emphasizes the Highs & Lows in Jokers life. Todd Phillips could have played with that.  

Creating the usual clown / Joker look with subtle differences but lasting impression must be a task, but they succeeded in creating that impacting mask of Joker.

But moreover the most remarkable job was designing range of light effects to depict shadows and providing more scary tones to the visuals.

Background Score & Sound Effects: 
The weakest part is background score where a lot could have been done like a theme score (when every time Arthur becomes Joker or Joker becomes hyper etc). Music doesn’t help in adding up on-screen drama. The ambient sound effects are good though.
   

Direction and Editing: 
This Joker is when a Martin Scorsese meets a Quentin Tarantino. Todd Phillips being Writer/Director definitely bundles a very finely knit, tight package. The intent of storytelling is to keep viewers in delusion (borderlines of reality & vagueness) – a typical of Scorsese movies. Very well succeeded in creating deep dramatic effects playing with time and space. What makes it little less engaging or monotonous for the viewers is loads violence (very raw like Tarantino movies) & absolute lack of any comic / lighter moments. Joker is not convincing in what & why he is doing it. Not sure if Todd Phillips uses this to symbolize what’s happening in the US from a political standpoint, and if the Mayor Thomas Wayne is actually impersonating President Trump? Thoughts?

Joaquin Phoenix: 
On the acting front it’s only and literally about him. He is seen in 90% of the frames.  It’s an epitome of method acting! Joaquin has used every single hair, nerve & cell of his body while playing Joker. He big time succeeds in un-nerving you, through his Body language and expressions. I’d say typically the use of body to portray his dismay, his psyche, and array of emotions is phenomenal, not much seen before. Apart from his epic lunatic laugh, the only thing he lacks is playing with his voice. He doesn’t even show half in terms of voice modulations, as he orchestrates through expressions/ body language. I just can’t stop comparing the last 2 iconic Jokers in the recent past (haven’t seen Jared Leto’s Joker from 2016 Suicide Squad.

Jack Nicholson’s Joker (Batman 1989) at least had some comic touch and lot less violence, while Heath Ledger (The Dark Night 2008) took it to the next level making it really a lot dangerous, villainous. Heath’s portrayal had a great textured voice along with all the dreadful acts and expressions to bring that deep dark tone to the character (I still like him more over Phoneix… Again I would get a beating for this J). Having said that, he still had some motives leading to the violence. And you obviously hate both these jokers as you become emotionally engaged to the Protagonists to defeat them. Even having darker notes, these 2 earlier movies end up in winning over the Evil – The Joker. 
- Joker (2019) doesn’t have any Superhero/ Protagonist. All the Killings by Joker are quite cold blooded. He operates the gun like a Pro, doesn’t miss a single bullet. Also he has ample bullets, not sure where he gets those from. Most importantly he does that without much clear intent. If that’s the case the absolute key victim for him would be Thomas Wayne – His alleged father. But Joker leaves him unhurt. Joaquin’s Joker performs all these hideous / psychic acts with no real intention and every single time he escapes easily.

The climax of the movie is not a great ethical message sent out to the viewers showing deep dark Carnival of Death! (Jokers on the job name is Carnival) In a way incidences (news, voice overs etc.) including climax metamorphs the situations, tensions, conflicts in the contemporary world, but conveys a very strange, scary way to revolt (not resolve) in an utterly cynical revengeful manner.

Definitely a great watch for Joaquin’s acting prowess. Joker will garner him, his first Oscar & he deserves it the most. But I suppose on many other fronts, there were and will be better movies lined up for the 2019 Oscars. @ Box Office: Mega hit during first couple weeks, will be top 10 Hollywood BO of 2019, but may not be a huge success as the genre itself has limited viewership.

Gully Boy: How to conceive an Innocently Cunning Smile while Orchestrating Inversion of a Volcano

When is the last time I watched the same movie twice on 2 consecutive days (Probably Marathi movie – Duniyadari?) And this Valentine Day release – ‘Gully Boy’ made the trick. Aur Bhaai, what an experience! I won’t call it a movie as it touches you all around. Yep there are movies like that, but you rarely get sink into it, as those either being very melodramatic, an out an out comedy, or a spine chilling thriller. Gully Boy is nothing of that sorts. But still like you are touched by every Zoya and Reema movie, as you see the characters so real, almost being part of you. And you then see those characters breaking the barriers and achieving what you / all of us dream for our lifetimes. 

No, I’m in no mood to write a review on Gully Boy. I feel 1) I may not be able pen down the experience in words 2) as it has to be experienced and to immerse in the visuals and to get lost wondering the prowess of Writer-Director duo (Zoya and Reema) who have crafted this gem. But why just them, it’s the entire cast and crew which I’d like to talk about here which is essentially the key aspect for Zoya – Reema collaborations. The uniquely holistic performances take their movies to an all-together different level.

The Casting first.

Ranveer Singh: Coming of an age may be clichéd but it really is. The more than energetic, peppy, loud, almost volcanic (usually to an extent of being irritating) Ranveer Singh is being asked to do a role reversal while keeping the intensity of his emotions the same, just inverting that by completely underplaying the character which was the demand of the role in Murad. And Ranveer scores 10 of 10! His facial expressions, voice modulations, including the RAP numbers he has sung are terrific. He tells us how to pursue the dreams and Murads’ in each one of us, with fullest of conviction regardless of which socio-economic strata you belong to. Let’s hope Ranveer opts and gets to play more Gully Boys, than Gundaays and Simmbas.

Alia Bhat: Did I say she is the Meryl Streep of India after watching the teaser of Gully Boy. Well I was completely ….. RIGHT – 10 out of 10 again! Have you felt like the character on the screen should be relating to you…ever? Watching Alia as Safina, you’ll be compelled to get the feeling that you should have that possessive, utterly loving but constantly lying (for her BF, and not with her BF), almost a Gundi (goon) G/F in some lives :-). And we should be glad that the extremely talented lady is all the time exploring herself and pleasantly surprising the audiences with extremely different and difficult characters on screen. The innocently cunning smile is probably the find of the decade and many actresses will probably try experimenting with their facial expressions watching this. Her portrayal of Safina is one of the very strong female characters I’ve seen after Mardani (Rani Mukherjee), Queen (Kangana), Pink (Tapasi) in recent times. Just either beware of OR feel relieved that you won’t get to expect the similar possessive behavior from your near and dear ones in your lives.

Siddhanth Chaturvedi: The best find for Bollywood – he is in the same league as new versatile actors like Vicky Kaushal, Ayushman Khurana and Rajkumar Rao. (I was consistently seeing Prateik Babbar in him, I was very much banking on Prateik after watching Jaane tu..Ya Jaane Na! But L) Many people might think as he is rapper in real life, to that extent he brings MC Sher the rapper character to life. In MC Sher’s lingo his performance is: Ekdum Majboot, hard hai bhaai!

Vijay Raaz: Best example of how to supersede the limitations of your physique. Though possessing a small frame (Rajkumar Rao and Nawazuddin have been doing this all the time) he shows the arrogance, ego and portrays the role of strong family head / Murad’s father really well.

Vijay Verma: He gives all that is required to portray the superficial grey, but underlying white shade of Moeen really well. It may be the key trait existing in Mumbai 17 aka Dharavi / slum areas of Mumbai / Metros. Very fine portrayal.

Everyone else including Vijay Maurya (also the dialogue Writer), Jyoti and Amruta  Subhash, Kalki does more than enough justice to their characters.

Screenplay: That’s one the key aspect of success of this movie. Essence is remaining as much true to the life of the Mumbai 17. Not making melodramatic or superficial. Both Zoya and Reema have spent 2-3 years on the script. They made sure that it’s not a biopic but based on true events. It never ever looks twisted, distorted, or stretched too far under the name of taking cinematic liberty. True to life trait is something you get to see in all their movies. And that part I like the most. You get some Deja Vu moments too. Especially the monologue, the protagonist’s self-talk, in midst of slew of turbulent thoughts in his mind, while being in a make or break situation, in crowded setting, against the setting Sun / fading Sunlight, Arjun / Hrithik Roshan’s character in ZNMD (on the yacht hesitating for his first scuba dive), you can re-live that when Murad / Ranveer is traveling in Mumbai local train.

Dialogues: The most important layer it adds to the already powerful screenplay. Vijay Maurya does that with much elan (for what he is known for! ). The ‘tongue-in-cheek’ one-liners typically those are given to Safina / Alia are just way too brilliant (….Dhoptungi na usko, ……Mar Jayega Tu, ….Aapka Liver Transplant Kar sakti hun). And he balances this out in collaboration with Zoya’s directorial vision with utterly soft, calm yet determined, and toned down lingo for Murad / Ranveer. Overall the dialogues will extend the native Mumbai lingo across the youth in India. (BTW On his acting skills - his portrayal of a small time Don in Aagey Se Right was amazing)

Editing: It’s an integral part of the success. Typically, all the RAP songs are edited effortlessly. And a difficult part to keep the length in tact while accommodating multiple characters and their stories running in parallel.

Costumes, Hairs and Make-up: A brief mention here but again absolutely fitting to the requirements. Couldn't have been better.

The Lyrics and Music: It’s the heart and soul of Gully Boy. Mix of versatile talent including the Rappers on which the movie is based – Divine, Naezy. It builds the characters, reflect their emotions, very very aptly thru poetry.  Initially I was a bit skeptical that the movie might be bit boring in-between with extended RAP sequences. But it’s the other way round. You get immersed while watching any other flick with heavy dose of romantic songs. Hats off to all the lyricist / musicians. Small music pieces like ‘Kab se Kab tak’ even are soothing amongst the blockbuster RAPs ‘Mere Gully Mein’, ‘Sher Aaya Sher’, ‘Azadi’ and probably the chart-topper ‘Apna Time Aayega’, surely will change the trend of music in Bollywood and also the fortunes of small-time but talented artists (RAP and otherwise) across the nation.

Cinematography: The filming, framing, angles and lighting is high-class (Hollywoodish!). Jay Oza is the young creative mind behind the camera. We’ve seen his work in Raman Raghavan 2.0 and a few web serials like much acclaimed ’24 – Season One’ (Hindi). He is probably a nocturnal animal as he captures the Mumbai night-life with lot of grace. Typically, the drone shots capturing the glossy side of Mumbai amongst fly-overs, Mumbai local trains and colorfully glittering sky scrapers. And equally powerfully, the drone / top angle shots capturing the low-lying areas of Dharavi. Especially one of the shots where just for once we get to see the small bridge like structure above heap of garbage which is the secret meeting spot of Murad / Ranveer and Safina / Alia. Just too good capturing opposites of stark Mumbai life.

   

Production Designer: Great lesson for people who want to be in this space. There are filmmakers (like Sanjay Leela Bhansali?)  known for splurging crores and crores to capture the grandeur of the situation thru expensive sets. Folks here show the same Grandeur and Opulence with a minimalist budget but more effectively and in fact a lot more realistically – Example: The S class White Merc that Murad / Ranveer is driving for the first time, which stops in front of the posh office - The usage of glass door and reflection of Merc on the floor registers the magnificence in audience mind. Similarly one of the nights, when number of these high-end luxury cars are parked outside a party venue and when again the reflection of festive lights and lanterns on the cars captures the opulent lives / event / situation.

The Movie: At par with any Hollywood musical. A very strong contender for India’s entry to Oscars for 2020. The number ‘Mere Gully Mein’ can compete in the RAP genre at Grammy’s (could be in, Best World Music, Best RAP Performance, Best RAP Song etc. categories) . It’s one of the most finely made videos for a song, using combination of stills, camera angles, huge participation of unskilled dancers, shot in filthiest claustrophobic locations in the History of Bollywood. Could create record for the most watched Bollywood movie by non-Indians!

The commercial aspect can be subtly touched for such a well-made movie - Should fetch biggest BO Success to Zoya (upwards of 400 CR) and could even get closer to Ranveer’s highest grosser: ‘Padmaawat’. 

Direction: Zoya is unparallel. In fact it appears as if she has just delivered a baby with utmost care, attention and all the love, which a mom offers to the baby. So pure, genuine and yet breathtaking to the core! She (And Reema) is master of unraveling the human relations on-screen which the audience do experience across their lives, and without any frills or fake veils. And I always explore this genre of movies a lot. Wishing Zoya the Very Best and for her to get more of these life touching stories to tell us, on a more frequent basis. Hope she will be always passionate to revive our lives by telling us in most uncanny and non-preachy way that the – Zindagi Na Milegi Dobara!

Follow your dreams. And make sure you not only have the ‘Gully Boy’ CD and DVD treasured in your Drawing Room / Car, but also do sink into the experience whenever you feel like: hugging life with both your hands. It could be somewhat a rare feat in the 21^st century even when surrounded by friends, family and alike.

Happy watching…