Joker: Foile a Deux

Warner Bros, 2024

Starring Joaquin Phoenix, Lady Gaga, Catherine Keener, and Harry Lawtey

Directed by Todd Phillips

Music and Lyrics by various

We leap into rougher territory this week with a mystery and a psychological thriller that explore the darker side of the traditional musical. Joker, with Phoenix as a failed stand-up comedian-turned killer, was not the first movie you'd associate with musical numbers. In fact, DC originally intended it to be a stand-alone movie, though there was talk of it launching a "DC Black" series. Director Phillips was the one who thought there was more to the story and brought in Gaga as Joker Arthur Fleck's love interest and added the dance routines in their heads. Was he right that there's more to Fleck's story, or should he have let sleeping clowns lie? Let's begin in Looney Tunes-style animation as Fleck (Phoenix) tries desperately to avoid his nefarious shadow and find out...

The Story: Fleck first encounters Harleen "Lee" Quinznel (Gaga) in the choir room at Arkham Asylum. They're attracted to each other at the start, despite Harleen lying to him about her home life and where she comes from. Arthur has more problems than her obsession with him, though. His lawyer Maryanne Stewart (Keener) wants to argue that he's mentally unstable and created the Joker personality to cope with his abusive childhood. Lee insists that he IS the Joker, and so does devious district attorney Harvey Dent (Lawtey). 

The media hype and clown-masked fandom surrounding Arthur's trial is so intense, it's one of the first to be broadcast live. Under Lee's influence, Arthur briefly reverts to his Joker persona, leading a revolt at Arkham and firing Maryanne. The guards at Arkham, however, are not amused. Their damaging attack makes Arthur wonder if Lee really wants to build a mountain with him...or only wants to be entertained by the Joker.

The Song and Dance: And that and the genuinely cool opening cartoon sequence are the highlights here, along with Lady Gaga and Phoenix's intense performances as the troubled pair in question. The lounge acts and R&B songs parody both the cheesy scarlet and gold variety aesthetic of the movie's 70's-early 80's setting and the cheerier numbers from 50's and 60's musicals like The Band Wagon (which is seen twice, including when Lee sets Arkham on fire) and Sweet Charity. The terrific period-appropriate costumes add a much-needed shot of color to the depressing gray sets and dark score.

The Numbers: We open with a medley of "Slap That Bass," "Get Happy," and "What the World Needs Now" in the cartoon sequence as the Joker tries to dodge and fights with his shadow, who ultimately takes over his act. Our first number proper is "For Once In My Life," as Arthur revels in Lee's attention to him. They perform "Get Happy" with the choir after he's declared sane enough to join. Lee is thrilled as they dance for the first time, literal sparks coming from the fire as she crows "If My Friends Could See Me Now." Lee also gets Lady Gaga's own "Foile et Deux," written directly for the film and performed during the sequence when Arthur imagines them dancing in the moonlight Fred Astaire and Ginger Rogers style, with him in his Joker costume. 

Arthur goes into the Rogers and Hart standard "Bewitched, Bothered, and Bewildered" during a talk show interview to explain his feelings for Lee. Lee sings "That's Entertainment" twice, the first time after the show. "When the Saints Go Marching In" is heard three times, notably as Arthur leads his revolt in the cafeteria, dancing on tables. Arthur sings the standard "When You're Smiling" on his way to the trial, revealing how happy he is with Lee. They do the R&B standard "To Love Somebody" on a stage surrounded by musicians, with her in ruffled early 70's garb and him in his Joker outfit...until she shoots him in the gut. 

She sings "Close to You" when she comes to see him at Arkham; he joins in, but it doesn't seem to reach his eyes like before. He laments being "The Joker" in a shadowy night club act parody. They're "Gonna Build a Mountain" in a huge variety act that includes her on the piano while he tap-dances in his big clown shoes for the crowd. Lee and his follower at Arkham claim "I've Got the World On a String" after Arthur fires his lawyer and returns to his Joker persona. "If You Go Away" is Joker's song after he's attacked and he's decided who he really is. "That's Life" is heard twice, earlier in a montage at Arkham performed by Frank Sinatra, and near the end by Lee. Arthur finishes with "True Love Will Find You In the End."

What I Don't Like: For a flashy musical inspired by cheesy variety shows, this is one depressing as heck movie. Lee and Arthur's colorful fantasies and the terrific music aren't enough to offset the dull sets and relentlessly grim outlook. The ending isn't much fun, either. Though I do appreciate that Lee and Arthur's relationship isn't as abusive as it tends to be elsewhere, I also fully agree with Lee and think Arthur should not have renounced his Joker persona. It doesn't suit the character or, from what I gathered, the first film. 

In fact, I haven't seen the first movie, but apparently a lot was changed between films, including some plot threads there that aren't picked up here. There's also the fact that, despite being second-billed, Lady Gaga simply doesn't have quite as much to do as Phoenix, and the movie runs way beyond too long and should have left some of those numbers on the cutting room floor. 

The Big Finale: There's a reason this is flopping big-time right now. Good numbers aren't enough to offset the grim plot, obnoxious characters, and a movie that is as confused about its identity as Arthur is. For major fans of Lady Gaga or DC Comics only. Everyone else can look for the soundtrack or Lady Gaga's album "inspired" by this film, Harlequin. 

Home Media: It's currently available for pre-order at Amazon.com.

DVD

Blu-Ray

4K

Musicals On TV - It's a Bird, It's a Plane, It's Superman!

ABC, 1975

Starring Lesley Ann Warren, David Wilson, Kenneth Mars, and David Wayne

Directed by Jack Regas

Music by Charles Strouse; Lyrics by Lee Adams

Yes, even Superman, one of the biggest comic book characters ever, has been the subject of a musical. It's a Bird, It's a Plane, It's Superman debuted on Broadway in 1966. It wasn't a hit, but it did have a few songs that went over well. In 1975, ABC commissioned this updated version, featuring several major stars of the time, plus a newcomer as the Man of Steel. It was intended for prime-time...until ABC saw the results and dumped it on their late-night show Wide World of Entertainment. Does it deserve better nowadays, or should it be blown to bits? Let's start at The Daily Planet, just as its workers are revealing how they feel about Superman, and find out...

The Story: Everyone at The Daily Planet wants to know who Superman (Wilson) is and when he'll help Metropolis again. Reporter Lois Lane (Warren) has a crush on him after writing many articles about his activities. Gossip columnist Max Menken (Mars) is insanely jealous of all the love Superman gets from the public. His secretary Sydney (Loretta Swit) would rather he paid attention to her and his writing. Neither Lois nor Max realize that Superman is really quiet, unassuming Clark Kent (Wilson), whom Lois never notices. Planet editor Perry White (Allen Ludden) wishes they'd all pay attention to getting bigger scoops.

Menken isn't the only villain who has a bone to pick with Superman. Scientist Dr. Abner Segewick (Wayne) is furious and bitter over being snubbed for a Nobel Prize yet again. He is determined to destroy Sweden, and figures he has to get rid of Superman before that plan can proceed. Even a group of gangsters has it in for Superman - he keeps disrupting their operations. When Segewick unleashes his evil plan, it'll take Lois' faith and a reminder that he still has fans to remind Superman that generic gangsters and scientists are no match for the Man of Steel!

The Song and Dance: There's a reason this keeps getting revived regionally, even though the plot is no great shakes. Strouse and Adams crafted a decent score, with at least one showstopper in "You've Got Possibilities." Mars is thoroughly enjoying chewing that paper scenery to bits as the egotistical gossip hound, and Swift tosses in a few good zingers, usually at her boss' expense. And they do occasionally manage to make the cheap production work, especially when "bricks" fall in after Superman bursts through the paper walls. 

Favorite Number: We open with all of Metropolis, from the journalists on The Daily Planet to the cops and college kids on the street, explaining why "We Need Him." Lois gives her own opinion on why she's so crazy about a man she only knows when he's rescuing her with "It's Superman." The gangsters reveal why they love their homeland - and robbing it blind - in the one new song written for the show, "It's a Free Country."  Max tries to convince Lois "You're the Woman for the Man" in a charming soft-shoe, but despite her seeming interest, Lois remains faithful to Superman. Sydney tries her own seduction of Clark in the show's only standard, "You've Got Possibilities." It's Lois who reminds the gangsters that "I'm Not Down Yet" and Superman will save her when they've all been captured in the end.

Trivia: Though the original 1966 Broadway cast went over well with critics, it couldn't find an audience and shut down after four months. It's never been back on Broadway, but it has seen several well-received concerts, including an Encores! show in 2013. 

What I Don't Like: Other than Lois, Superman, and Perry White...what does any of this have to do with Superman? What's wrong with Lex Luthor for the villain? Worked in several movies and all of the cartoon series featuring Superman. Why didn't they use other regular Superman characters like Jimmy Olsen? The plot is witless, boring, and badly dated. Their attempts at the camp elements that still make the 1966 Batman TV show a hoot, like the paper comics sets, look cheap and silly here. Sedgewick takes down Superman with psychology? Why not kryptonite? And the same writers would go on to pen the screenplay for the first Christopher Reeve movie. Obviously, they did a lot more homework in the four years between this and the release of that blockbuster. 

The characters don't come off so great, either. Warren's Lois is too cutesy and annoyingly gosh-golly-gee. Her overwhelming desire to marry Superman is not only condescending, it doesn't at all match the narrator's (Gary Owens) description of her as a spunky reporter, or the tenacious Lois most people recognize today. Her ballad "What I've Always Wanted" is dated and overly-sweet, with its silly fantasy sequence, even if Warren does sing it well. Wilson is annoying and whiny whether he's Superman or Clark Kent. No wonder Lois doesn't notice him. 

I'm not a fan of the updated tempos on the songs, either. "You've Got Possibilities" in particular sounds totally wrong with funky guitar riffs and extra synthesizers. They cut a lot of the stage score, too. While I have to admit I enjoy "Free Country" (though some of its lines sound a little too on-the-nose right now), among the losses are another number for Clark ("Doing Good"), for Max Menken ("So Long, Big Guy"), and a nice ballad that admittedly was for a character who didn't mean much to the plot ("We Don't Matter at All"). 

The Big Finale: The cast and a few good songs can't overcome the cheap production, badly dated plot, lousy villains, and dull performances. Only if you're a really, really huge Superman fan. Look up the not-bad original cast album for this show on CD instead. 

Home Media: Currently, this rarity can only be found on YouTube.

YouTube

Cult Flops - The Return of Captain Invincible

Jensen Farley Pictures/Seven Keys, 1983

Starring Alan Arkin, Kate Fitzpatrick, Christopher Lee, and Michael Pate

Directed by Phillppe Mora

Music and Lyrics by various

Superheroes, especially of late, have conquered almost every media they've appeared in, from comics to TV to radio...except the musical stage. As anyone who saw Spider Man, Turn Off the Dark on-stage a decade ago can tell you, superhero cliches, with people flying and throwing things around and villains with insane world-domination plans, don't really mix well with bursting into song and huge dance routines. Spider Man wasn't even the first attempt to mix superhero and musical conventions, as we'll discover with our first two entries this week. How does this major sci-fi flop from Australia look nowadays, with far more serious science fiction hitting theaters? Let's start with a newsreel detailing more about the incredible career of Captain Invincible and find out...

The Story: Captain Invincible was the most beloved hero in the United States during the late 30's and 40's, defeating gangsters and Nazis alike...until he went under suspicion in the McCarthy witch hunts of the 1950's. Before he can be arrested, he takes off into the horizon, never to be seen again.

In the early 80's, New York is hit by a strange ray that makes immigrants want to instantly leave their homes and move to a certain housing project on the edge of the mainland. The President of the United States, who a huge Captain Invincible fan, wants the Man of Magnet back on the job. Policewoman Patty Patria (Fitzpatrick) is the last person to have seen him...wandering around, muttering and drunk. It's up to Patty to get him back into fighting shape and bolster his confidence in truth, justice, and the American way. Supervillain Mr. Midnight (Lee) has his own plans for Invincible...and he won't let him get in the way of his plans for world domination.

The Song and Dance: This is one of those movies where everything is so weird, after a while, you just sit back and run with it. Arkin and especially Lee throw themselves into their roles, chewing every bit of scenery in sight, and have a marvelous time doing so. And who knew Lee in particular had a pretty darn decent voice? His part of "Mr. Evil Midnight" is a rich, campy delight. For an Australian production, there's also more goofy jokes about America than you can shake a red, white, and blue flag at, especially involving Midnight's hideout in the deli and Patty's speech over "The American Eagle Network."

Favorite Number: "We Need a Hero" starts with the President cursing out his underlings when they can't figure out how to handle Midnight's scheme, and ends with him leading the heads of a military in a chorus routine saluting the government's need to call in for help. Meanwhile, Captain Invincible laments about his lost career pointing out that the good and the bad aren't so different in the country flavored "Amazing How They're Alike." 

"Mr. Evil Midnight" is another huge chorus routine, as Invincible explains to Patty and the riders on the subway what Midnight does, while Midnight sings about his delight in being nasty with his scantily-clad chorus girls. Lee also gets to show off his wonderful voice as he and his devilish dancers try to coerce Invincible to "Name Your Poison" and return to drinking.

What I Don't Like: Even for a satire, this doesn't make a shred of sense. The movie just cuts from incident to action sequence to musical number with no rhyme or reason. Many important bits of information, including how Midnight finally regains his powers and him rescuing the trapped new home owners in the end, are alluded to but not shown. 

Midnight's plan revolves around forcing ethnic families out of the country in the hopes that white Americans will cheer him for it...and it tends to hit a little too close to the mark with the racial tension in the US lately. Other aspects, including those stereotypes and all of Invincible's bellyaching about the changes in America between 1950 and 1983, are almost annoyingly dated. It's also pretty obvious Kirpatrick was dubbed (although the bad sync may have been intentional), and her soft rock ballad is the silliest and most boring song in the film.

The Big Finale: No movie with Christopher Lee can be all bad, and indeed, while not a lost treasure, this one can be a lot of fun. It really lives in its own warped world where the usual logic doesn't apply. If you can run with that and are a fan of superhero movies or Lee, you may get as much of a kick out of this one as I did.  

Home Media: As far as I can tell, currently DVD only.

DVD