Why did we like the "Joker"?! .. Reading in messages and technical touches

The movie "The Joker" achieved amazing success at the public and critical levels; it went beyond that to become an icon and an inspiration, and it constituted a kind of equity for the oppressed peoples. In order to understand the secret of the amazing success of this latest version of the film - starring Joaquin Phoenix and directed by Todd Phillips - we must consider some important aspects of this film: namely, acting, scenario and directing.

Let's start with the acting component: In the previous version of the Joker movie - directed by Christopher Nolan - Heath led the star to introduce a philosophical concept of the character, and he succeeded in it to the point that it posed a challenge to everyone who came after it.

As for Joaquin Phoenix, it was presented in the last version of the character with content with a human dimension, that is, it was not an evil at all, as in previous versions. That humanistic interpretation also bore a social dimension as a result of the Joker's suffering with an unforgiving environment, and pushing him into madness and turning into an act of evil.

Joaquin Phoenix pursued the method of the Elia Kazan and Lee Strasberg School, a development of the teachings of Kostantin Estaslavsky who drew the world's attention to the fact that acting is not only a talent, but rather a science that immerses in the mental, sensory, emotional, nervous and physical processes, so that the actor can fully control his tools undiminished.

The first person to introduce these teachings to the United States of America is Mrs. Estella Edler, from whom Lee Strasbourg grabbed him and established the “Studio of the Representative” from which the acting masters come out: Marlon Brando, Paul Newman, Jack Nicholson, Dustin Hoffman, Robert De Niro, Al Pacino, Meryl Streep, and others.

It is a studio concerned with the style; that is, forming a style of personality that is not stereotyped or unprecedented, and that the "unconscious" does not control the "awareness" of the actor by working on the existence of a distance between them, so the "no awareness" of the actor does not control his consciousness.

The actor's studio is considered a school in the art of acting for its patrons, but its danger is that it may end in some roles with a tragedy, as happened in a performance of "Othello" once.

The actor, who plays Othello, merged with the scene of killing Dimona. He was supposed to strangle her because he suspected his betrayal, but he did start strangling her and the play would have ended in tragedy, had the actress not been saved at the last moment. That is why all the acting schools of our time - including the stylistic school in "The Representative Studio" - focus on rejecting reincarnation, and work on the actor's control of his tools.

Joaquin Phoenix resorted to the school of style in order to form features of flesh and blood for the character "Joker" away from the traditional stereotyping. She carved the features of a human personality with all its representations of weakness, kindness and disease, until it turned into anger and deviation towards bloody evil.

We find that Joaquin significantly reduced his weight in order to appear convincing in the character of the Joker, who lives a reality plagued by poverty and disease, and thus unleashed the hair of his head in order to appear as if he was obsessed in one way or another, and the most important is the method of makeup the Joker, which the actor was keen to present differently as he interfered with All the details.

Joaquin introduced Emotional Disorder, that is, laughing syndrome without the ability to control sometimes, hysterical crying, or both. This state of emotional lack of control presented by the actor in a highly professional manner, so that it does not fall into the circle of expressive exaggeration, so the character loses his credibility with the audience; thus, he had to present it holding the thin thread between style and natural form for the audience to like.

In other parts of the film, especially those concerned with his discovery of information he does not know, or how he killed Robert De Niro, the most famous program presenter in Gotham City, there were no exaggerated scenes, but he presented them in stages that start with ridicule, accusation, attack and kill him.

With an amazing emotional stability and ability to control his nervous system, Joaquin Phoenix succeeded in introducing "The Joker" in a highly stylistic and professional manner, affirming - at the same time - personal humanity. That is why people sympathized and united with it, and the Joker is within each of us.

The scenario: Writer Scott Silverer and director Todd Phillips have made the latest version of "The Joker", influenced in one way or another by "Taxi Driver" and "King of Comedy", both directed by Martin Scorsese and starring Robert De Niro.

The movie "Taxi Driver" - with both moral and aesthetic logic - presents the character who fought in Vietnam, and then became alone in the cruel world of New York full of moral corruption, turned as Joker turns into violent act.

The movie "The King of Comedy" presents the character "Robert Bovkin" who is obsessed with one of the most famous comic program presenters, and sometimes the viewer mixes real-life events with what goes on in the character's mind, just as in the Joker, where real-life events are mixed with what is in the mind of the "Rather Falk" character that he played Joaquin Phoenix. Therefore, it is not surprising that the producer offered the director of the film to Martin Scorsese (the spiritual father of this type of film), but he apologized for his association with "Irish".

We return to what Scott Silver and Todd Phillips did with the scenario. They presented a character who was not as evil as before, but rather made evil as a result of a set of severe social conditions. That is, the film started on a humane social ground. For example, the government canceled the drug subsidy, and Arthur Felk, a resident of Gotham City, was affected by this decision, and stopped taking the medicine that was keeping his balance.

Going back to history, we find that former President Ronald Reagan canceled the Mental Health Systems Act - which was previously approved by his predecessor, President Jimmy Carter - in 1981, and this was the beginning of the appearance of many homeless and mentally and psychologically disabled in the streets of New York.

In the scenarios, we can see that Gotham city consists of a controlling class and another that does not even have fragments. We see a group of first-class youth assaulting Arthur on the subway with beating and insult, before his total misdemeanor of violence and violent madness starts to begin killing them. This is also similar to a real incident in New York: a group of wealthy Wall Street youths - a street of money and power - assaulted a beggar young man, prompting him to kill them.

We now turn to another axis, which is the discovery of Arthur that he is an adopted son and that Thomas Wayne is not his father, that his mother - in the past - allowed the father to hit him severely in the head region, which caused his illness later, and that Thomas Wayne - the wealthy man who possesses palaces - despises his son Arthur Philk is also beating him. In another scene, Arthur goes to Thomas Palace to see his father enjoying joy and bliss, while he suffers from the hardship of living.

There is no doubt that these references and axes have formed the social ground on which the events of the film will stand, and even constitute a state of sympathy for the viewer with the character of Arthur, through a cumulative narration that pushes the viewer to justify the Joker violence and even unites with him, so that the Joker personality acquires a popular revolutionary dimension, just as its objective equivalent Robin Hood.

Director: Certainly, director Todd Phillips - with great brilliance - led this art project to present a socially aesthetic interpretation par excellence. He chose all of New York's inspiring places to make it a backdrop or ground for events in Gotham City, and this employment made the film a political connotation.

He also completely managed to control the film's audio tape, and did not provide an exaggerated soundtrack. He also made all places of filming the movie icons that people remembered. For example: The ladder on which the Joker danced his famous influential dance.

Yes; Todd Phillips was able to present an influential, disciplined, audiovisual visual repertoire. Despite his readiness for this, he does not tend to the melodrama, and more than that he understands and manages the actors, especially Joaquin, who allowed him to enumerate and length the shots, to show and highlight his complex and complex emotions without slipping into giving him free looks. Philips would like a way to expect from him.

There is no doubt that we are facing an ideal work; if we ask: How can success be achieved by artwork? The answer is to work with team spirit, understanding, harmony and seriousness, all of which creates novelty, amazement and success.