For all my beautiful friends, known and unknown to me:
Writing at the darkest time of year, when we string lights and let candles flicker as we await the rebirth of the Sun, I want you to remember that it truly is a wonderful, glorious, miraculous life.
And while other holiday films may delight us with nostalgia, or portraits of crazy families still managing to enjoy their particular life, I love It’s a Wonderful Life (Frank Capra, 1947).
A dark film, for a dark season, that eventually turns its face again to the light. It’s a Wonderful Life presents us with a portrait of a family man who sees his life as a failure, is deeply in debt, and attempts suicide on Christmas Eve. But it’s not that George Bailey (Jimmy Stewart) actually wants to die. He specifically wishes to have never been born. And his wish is granted.
Having never been born, George Bailey is free to see how life would have proceeded without him. The thousands of little links in the chain of his existence are broken. He was not alive to save his brother’s life, to keep a grieving pharmacist from accidentally poisoning someone, to marry his wife, to fix his dream home as well as build the dream homes of the people of his hometown of Bedford Falls.
Beyond seeing how connected and important his life was to so many, he also realizes that he has no memories, no experience of life, no friends, no family, no connections, no love. And this is when he chooses to live again.
I want you to think about what George Bailey knows when he makes his decision to return to his life. Nothing has changed. There are Zuzu’s petals in his pocket, he is still broken by debt, and yet he chose to have back his experiences, his connections, his friends, family and love.
And though the town pulls together to help erase his debt that night, George did not know that would happen when he chose life. He wanted to kiss his wife and children, run through the streets shouting “Merry Christmas” to all, even old man Potter.
None of us know our future. Whether trouble, pain, or loss will hit us on any particular day, but we go on anyway because the alternative is nothingness.
Imagine never experiencing life. Not simply seeing the stars, or falling in love, or sunsets after a fine day, but never knowing loss, the pain of unrequited love. Life is all of these things, the painful, the glorious, the unjust, the small triumphs, the love and loss. And living with the constant uncertainty of it all.
And yet we choose this everyday. In a dark, cold, and lonely Universe, somehow you were born. A naked ape made from the elements of the Earth, kin to all you see in a very real way. The only difference is that, having life, you get to reflect on the immense miracle of it all. And it is never too late to choose to live in love and awe.
This season, count your riches in the amount of love you give, the joy you bring, and be open to this glorious, uncertain, and wonderful life. May peace and love fill all of your days, and may you safely rest in the arms of love, no matter what this life brings.
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For what is a man, what has he got? If not himself, then he has naught. To say the things he truly feels And not the words of one who kneels. The record shows I took the blows And did it my way. -Paul Anka, Frank Sinatra
We only miss something when it’s gone. But now the end is near for my three-part series on Joker. We’ve viewed this film through many lenses. What else lurks in the crushing, taut, shocking, and riotous abandon of this film?
By the end of Todd Phillips’ Joker (2019), the entire city is on fire, and anyone with a credit card is fair game for a mob of clowns. With a little help from an angry white man. Can you think of a better metaphor for our current dumpster-fire “society?”
Shootings by white males is a part of our society now. And Joker had to address that. We all remember the Aurora theater shooting during a showing of Christopher Nolan’s 2008 Dark Knight, with Heath Ledger as Joker. Ledger had recently committed suicide, and there were rumors that the shooter was dressed as the Joker.
Christopher Reeves will always be Superman. But Joker changes with the times. He can be Jack Nicholson or Mark Hamill. The Joker has to stand in relation to the culture he inhabits.
The power of Joaquin Phoenix’s Oscar-winning toure de force deserves a lot of credit. But he doesn’t bear all the load. How does this film with an angry, white male lead make a Joker that works for our current culture?
First, down play his whiteness: give him zero sense of privilege to show his feelings and use the white clown-face as an anonymous symbol. Make him completely alone, poor, mentally ill, beat up, abused, betrayed, and a bit too old: everything no one wants to be. You can also surround him with black women who at least tolerate him. Make him apolitical. And then question his masculinity. Bam! 👊🏼
Look around at the faces in this movie. Who is his therapist? His psychiatrist? Who decides he’s not a threat to her kid after reading Art’s card when he breaks into laughter on the train? Who is his imaginary girlfriend? Who does he dream laughs at his jokes when he does open mic? In whose eyes does he search for recognition? A black woman’s, in the form of his neighbor Sophie (Zazie Beetz). Ah. The elusive black female vote.
Now let’s look at the white males in this film. There is his co-worker Randall (Glenn Fleschler channeling Pete Boyle), who’s fond of making fun of Gary (Leigh Gill), the little person they work with. Randall had pushed a hot gun on Art as a “favor.” Midst owning “If You’re Happy and You Know It” in a hit performance to a children’s cancer ward, Arthur drops the gun. Randall tells their boss that Art had asked him about buying a gun. Betrayed, Art lies that the gun was a part of his act. There goes Art’s job.
On the train home in full clown, Art’s laughter boils up over three finance bros rapey treatment of a young woman. She leaves. But, unable to find his card, he becomes the immediate target of these blue-balled, drunken jerks’ ruffled sense of privilege. They rush him. He tries to fight back, but one punch and he’s down. Then a bullet hole explodes through one of the bros’ chest, and we see Arthur, gun in his left hand. He shoots the second of group down. Then wounds the last whom he pursues on the train and onto the platform where Art is at home, and his fleet feet soon bring him into range of his victim.
After this first burst of violence, Art runs to a public restroom. Echoing Buffalo Bill’s famous dungeon dance in Silence of the Lambs (1991, Jonathan Demme), his arms begin moving as on invisible strings, his dancer’s feet begin a graceful step. He curls into his body then pushes out in a ballet that ends with him standing, arms wide, head high, viewing himself in the mirror, at last, as Joker.
The only white woman in the film is his dreadful Mom, Penny Fleck (Frances Conroy). She tells him, “I thought you had to be funny be a comedian,” when he discusses his dreams. And persists in calling a grown man “Happy.” When he finally learns that she writes to Thomas Wayne constantly for help for “their son” who is a “sad boy,” he searches deeper. Did Wayne force her to sign fake adoption papers? Is Wayne really his Dad? He finally discovers she had been a patient at Arkham Asylum for the Criminally Insane, a record search reveals that he was neglected by his mother, who let her boyfriend abuse him to the point of brain damage and left him tied to a radiator. He decides she needs to learn about the thin and twisted line between “mother” and “smother.” With a pillow over her face.
And what about Dad/Thomas Wayne (puffed up with rich, male outrage by Brett Cullen)? Wayne appears on TV, reveals that the train bros worked for him, calling them “family.” But the report of a clown shooting down Beavis, Butthead, and Eric on the subway has already captured the minds of the mad as hell citizens of Gotham.
Wayne pours oil on the fire by declaring, as only rich white men can, “What kind of coward would do something that cold blooded? Someone who hides behind a mask. [Like Bruce Wayne/Batman?] Someone who is envious of those more fortunate than themselves, yet they’re too scared to show their own face. And until those kinds of people change for the better, those of us who made something of our lives will always look at those who haven’t as nothing but clowns.”
Soon everyone but Arthur is wearing a clown mask, and protesters hold signs declaring “WE ARE ALL CLOWNS!” “WAYNE IS NOT GOTHAM!” and, my fave, “KILL THE RICH!” Arthur walks through the crowds, beaming. Amazed at what he has caused. He ducks into an exclusive, black tie, screening of Charlie Chaplin dancing on roller skates in Modern Times (1936) because these people are unselfaware and awful.
Disguised as an usher, Art smiles at the screen in joy for a moment. Then, spotting Thomas Wayne, he follows him to the men’s room. Arthur introduces himself to Wayne, addressing him as “Dad.” But Wayne pulls no punches, calling Penny Fleck an “insane woman,” and then punches Art in the face. So much for paternalism.
Now completely alone, but still tuning into Murray Franklin’s (Robert DiNero) late-night show. “Check out this joker,” Murray quips in his monologue. He plays a painful clip of Arthur’s open mic performance. The light seems sucked from Art’s eyes. His dream came true. Murray acknowledged him, but played him for a clown and a joker. More betrayal! Like Smeagol and Gollum. Art is gone, only Joker remains.
Art’s also got some negative attention from a detective duo now. After climbing into his refrigerator doesn’t work out, Art picks up the phone. This time it’s a booker for the Murray Franklin show. So he books for Thursday, and prepares. And the gun will be part of his act.
On the big day, while a mass clown protest is taking place downtown, our boy puts on the flourishing touches. Stabs Randall, who came by to get their “stories straight” about the gun. But Art opens the door for Gary, who can’t reach the latch, to escape. Kissing his head he whispers “You were always nice to me.”
Cue the Gary Glitter! Yeah, he was a pedo, but there’s a reason why every stadium used to play “Rock and Roll Part 2.” After tracking his swaggering catwalk to the elevator, Art turns to camera, green slicked hair, full makeup. Dressed in the dark reds, sickly yellows and teals of his world. And Joker is cool! And kinda sexy. Now out and rocking, he thrusts, jumps, twists, turns and shakes his way down that damn staircase. Until the detectives spot him.
After a mini French Connection chase, with his speed, Art’s reaches the train. Where everyone is dressed like a clown. Finally, his essential anonymity, ability to navigate tight spaces, and years spent on that train become superpowers. He disappears in the crowded car, pulls a classic fight starting fake out. And a cop shoots the man Art set up.
Pure rage spills out of the train. A crowd of clowns pile on the cops, kicking and punching. Joker dances a happy little Vaudeville jig as he passes with a light-hearted wave.
Now, all that remains for Arthur is Murray. Art didn’t conjure the increasingly violent mob outside. They projected what they wanted on him. The man with nothing to lose, this nobody, symbolizes everybody, and the freedom of anonymity. For Art, this is his chance to be seen, and to set the record straight at last. As he told his therapist, “For my whole life, I didn’t know if I even really existed. But I do, and people are starting to notice.”
But I promised we’d talk about gender and masculinity. There is a man not in the film but is magically everywhere. Frank Sinatra. Several of his famous, Capitol and Nelson Riddle recordings, and the later Stephen Sondheim hit “Send in the Clowns,” play a role in Joker.
Frank Sinatra said he founded his singing style on the tragic black female jazz icon Billie Holiday. Billie Holiday was a torch singer. Perhaps the first to become famous to white audiences. She sang about heart ache, loving someone who doesn’t love you, loneliness, being left by your lover. And so does Frank.
When Sinatra began, he was young and pretty. Big hair, big blue eyes. He was the first Beatle or Presley. I have from first hand that the guys back in the day all called him what? Gay. But as he grew physically, through his film work, learning his developing voice, taking charge of who he worked with, while encouraging the idea that he was mobbed up, Sinatra earned a manhood pass for singing torch songs and playing a tap dancing sailor.
Frank Sinatra: the first of the famous, international playboys of 20th Century Pop. And that includes Pavarotti. But, while both men maintained their compassionate side, in other ways they acted like pigs. Which made it OK for a mobster to cry to “Vesti la Giubba” or “It Was a Very Good Year.”
But, while the film gives Art a case of the not-gays in his delusional relationship with his neighbor, Joker is noticeably more effeminate. He coyly asks Murray to introduce him as “Joker” because that’s how the late-show host introduced his video clip. He twists and grins, batting his white eyelashes.
Thin and lithe, he twirls his way onstage, flicking a cigarette butt, and taking a long time to kiss the Not-Dr. Ruth guest. Settling himself, he stares for a moment before commenting that this was how he always pictured being on Murray’s show.
Going full Blanche DuBois in mannerism and lilt, while maintaining that inscrutable face beneath the makeup, Art works his way round to his point. Joking about a mother losing her son to a car accident. Reprimanding the crowd for deciding what’s right and wrong, funny and not.
He confesses to the subway murders, launching into a manifesto. Claiming that Thomas Wayne’s “crying over” these guys on TV was the only reason anyone cared about them. He insists that if he were dying on the street, people would step over him, though he’s just like them. Like any other person you see everyday in the city. Everybody and nobody.
He shreds the notion that he killed out of any political motive. Announcing, “I killed those guys because they were awful. Everybody is awful these days. It’s enough to make anyone crazy.” Adding, “and they couldn’t carry a tune.”
Turning on Murray, he lashes out, “Have you seen what it’s like out there, Murray? . . . Everybody just yells and screams at each other. Nobody’s civil anymore. Nobody thinks what it’s like to be the other guy. [Facebook?] You think men like Thomas Wayne ever think what it’s like to be someone like me? To be somebody but themselves? They don’t. They think that we’ll just sit there and take it, like good little boys! That we won’t werewolf and go wild!”
As Murray struggles to regain control, Art plunges forward, insisting Murray is awful because he only invited him on the show “to make fun of me.” Snarling, “You’re just like the rest of them.”
Drawing himself in like a cat, he unloads over Murray’s attempts to shut him down, “What do you get when you cross a mentally ill loner…with a society that abandons him and treats him like trash?…I’ll tell you what you get! You get what you fucking deserve!”
A gunshot. Murray is slumped back in his seat, bullet through his head. Arthur, still holding the gun, blinks, looks confused, then skips away.
As he rides in the back of a police car, his makeup a mess, Art stares out the window at the looting, fires, and violence with an awed smile.
The car passes a theater where Thomas Wayne, his wife, his son — and future Batman — Bruce hurry from a theater showing Zorro The Gay Blade (1981, Sam Medak). A man in a clown mask corners them, shoots Wayne and his wife, tearing off her pearls, while young Bruce stands in shock, blood splashed on his face.
Headless of what happened to the Wayne family, the cop driving the car shouts to Art, “The whole city’s on fire ’cause of what you did.”
Art smiles, dancing flames reflected in his eyes, “I know. Isn’t it beautiful?” Recognition at last.
But life has one more surprise for Arthur. A hijacked ambulance slams into the cop car. Anonymous clowns gather around the wreck. Seeing Art, they reach down, pull him from the car, and place him on its hood. Bleeding and dazed, Art recovers consciousness. Touching his fingers to the blood, he pauses, then paints himself a wide grin with his own blood. He stands and bows to cheers. Someone did pick him off the street as he was dying after all.
He can now rely upon the kindness of strangers.
Joker sucked the charged out the story of a character that has always represented white, male violence and insanity by making Arthur both everyone and no one. His makeup became a symbol. His anonymity a super power. A nobody becomes a somebody, and gets some kick ass revenge. I can’t imagine a more satisfying story. It worked for Luke Skywalker.
And thanks to the combined insanity, creativity, meticulous craftsmanship, performances, etc of Joker, we get a cautionary tale for our own world. A tale of the failures of run-away capitalism, toxic masculinity, racial and class divides, and the dangers of ignoring the weakest and most desperate among us. Ultimately Joker makes a plea for civility, kindness, understanding, and tolerance.
What did you think? How about the final scenes? How much of the movie, if not all, took place in Arthur Fleck’s damaged mind? And, does it ultimately matter?
Let’s celebrate the end of my tenure in clown town. Come on, grab a Rock ‘n Rye, and sing like it’s 2 am, and you’re the last guy on the karaoke machine at the Triangle Tavern on 9th and Passyunk.
Check out my Instagram! There are pictures of stuff!
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The 14th Earl of Gurney — Peter O’ Toole in Sam Medak’s savage 1974, The Ruling Class — declares “Behaviour which would be considered insanity in a tradesman is looked upon as mild eccentricity in a lord.” If you’re rich, you’re eccentric. If you’re poor, you’re crazy.
And as Joker (2019, dir. Todd Phillips) waltzes its way to the Oscars with three new BAFTAs, the film is getting a second, and deeper, look from everyone from psychoanalysts, to disability rights groups, critics, fans and movie goers. I can’t imagine a better time for it. Because, for better or worse, Joker has captured the imagination and feeling of this moment, the uncertainty, the fear, resentment, and anger all around.
So, Batman doesn’t have super powers. Or so I’ve been told. Batman/Bruce Wayne has the most super power that exists. He’s rich. Not simply rich, he was born ridiculously wealthy. Living off the fortune amassed by his father, the vaunted Thomas Wayne, respected citizen and weapons developer. He simply has an “eccentric” way of using his wealth. And while Joker dances around its comic book origins, the film definitely wants you to think about this. Going so far as to have Thomas Wayne declare on TV that anyone who reacts to the evil in their world similarly is “a coward in a mask.” Or clown makeup.
So, what’s Arthur Fleck’s (Joaquin Phoenix) super power? Or, more bluntly, is the only difference between Bruce Wayne and Arthur Fleck that one was born to be rich and privileged, while the other was not? One is “eccentric?” And the other is “crazy?” One nobody. One somebody. Somebody who has somehow earned some leeway? And a nobody expected to just shut up and tow the line?
Art doesn’t know much about himself. When his therapist asks him if he’s thought more about why he was hospitalized, we see a quick cut to him banging his head against a window in a white padded room. He answers, “Who knows?”
Arthur pursues the truth of his life and who he is because he hopes to be set free, but the truth has consequences. Oedipus was blinded by the truth. Arthur turns on the truth in rage. Oedipus was a king, like Bruce Wayne is the privileged son of a wealthy father. Arthur is a nobody who, he learns to the say as Joker, “If you saw me dying on the streets you’d walk right over me!” Arthur doesn’t know he has a to right to feel upset, or angry, or fooled, fall in love, be loved, even have one positive thought about himself or his life ever. He is the ultimate expression of what it means to be abused. And the different standards applied to different sets of human beings.
So let’s talk about double-standards. Let’s talk about pity, compliance, mental illness, and folks living on the edge of humanity. One of the “sins” those who live with mental illness stand accused of is “self-pity.” The same for the poor, the disenfranchised, and the left behind. Everyone and their mother can go on Facebook or Yelp! or Google and get a waitress fired over putting ice in their drink, and never have to face the woman who lost her job. But try fighting unfair, illegal, or abusive treatment at a mental health clinic, by the Department of Human Services, the police, the “justice” system, your school, your work, your family. You might get some tear drop emojis if you’re lucky. But hell no. No one wants to hear or think about that! Put them off the lunch they just posted a picture of.
“If you quit feeling sorry for yourself, and [get a job, work harder, get two jobs, and some boots with straps] then maybe [your concerns will be legitimate].” This society loves its bootstraps. Off course, the original phrase — “to pull yourself over a fence by pulling up on your bootstraps,” — meant something absurd or ridiculous. If you pulled up on your own hair, would you raise yourself off the ground? No. And you need boots (with straps) to pull on in the first place.
Which leads me to “compliance.” Compliance deals with the insistence in mental health treatment, the justice system, and folks who require any sort of assistance, to trust fully in their “betters” and jump through all of their hoops without complaint, simply to keep basic necessities. What if they want you to go “volunteer” to community service 3 times a week? Well, what if you don’t have a car, or bus service, or can’t afford an Uber? Too bad. Guess you’re walking five miles to the bus station. I don’t have bus fare. Well you don’t get your 194$ a month to buy food with. Do you think you’re crazy? Well, then you’re sane enough to fly a plane.
A therapist once told me, “Depression is anger turned at yourself.” When we meet Arthur, he’s so compliant. He has a job. He takes care of his Mom and humors her Thomas Wayne fixation. He makes his appointments. He takes his meds. He walks like “a compliant individual.” Do you know what that looks like? It looks like a person hand-cuffed to the front. Their shoulders pulled forward with no ability to stand erect like a human being. The only sense we have of what Art’s been shoving down all his life is that tortured laugh that erupts from him without his control. And the occasional lights in his eyes, like if a shark had a glint in those black “doll’s eyes.”
The system lets Art down. In his second visit to his therapist. He finally vents about how bad his life and world truly are. She tells him that social services for his program have been cut. Getting real, she confesses, “They don’t give a shit about people like you, Arthur. And they really don’t give a shit about people like me either.” She’s out a job, he’s out a therapist and his meds, and everyone is shit out of luck. Except the Thomas Waynes, of course.
The two social supports Art is left with are his job, and his Mom, but he does have one thing he didn’t have before.
The gun his co-worker Randall told him he “could owe [him]” for. And like the Wizard of Oz’s “gifts,” the gun allows him to access the angry part of his personality that he always had with him. A sensitive, lonely, vulnerable man, unable to articulate his feelings, now finally has the one thing that our society values. The ability to be an aggressive male. Because real men don’t get sad, or feel lonely, or unloved and unloveable. Real men only express one emotion: anger. And Art is a volcano of anger.
Another repressed emotion now pops into Art’s life, now that he’s packing his new manhood. Art lurches up those weary stairs to his apartment, and is getting on the elevator. A female voice calls to him, “Hold the door. Please!” As the door closes, all we see is one, gracefully extended, shiny, black male dance shoe under short trousers a la Gene Kelly. Wait. Did Art just do something mildly attractive? Oh god, look at his face, no.
Art’s intro to his sexy but so over it, single-mom neighbor, Sophie (Zazie Beetz — who deserves way more recognition for this role), consists solely of her commenting on how “awful” the building is, as her daughter repeats “awful!” tugging at her mom’s coat. Rolling her eyes at Arthur, Sophie puts her fingers to her head, like a gun, and pulls the trigger. Exhaling “pshew.” Arthur tries to look down at his hands, folded in front of him, “compliant,” covering himself like Adam. But before they part, he summons the courage to turn and say “Hey!” He mimes shooting himself in the head. She twitches a smile.
Art is now alone, fidgeting with his gun. His fires his first shot, while pretending to dance with a woman, declaring himself, “a better dancer than him.” He aims at a horrendously racist Fred Astaire movie playing on the TV. The gun goes off, the bullet tears the wallpaper, and Arthur is brought back to real life, as his Mom shouts from her bedroom to keep it down. “Sorry, Mom!” He hollers in a panic.
But where before Arthur was a passive participant in his life, he has taken his first real steps towards self-discovery, and all that means. Now he’s actively taking notes at a comedy club. And while he makes observations like “slick hair???” “eye contact,” and “sexy jokes alwaze funny.” When the comedian makes a joke about not being hired for being a Jew, Arthur looks around at the room before he fakes a laugh. Some part in him knows that Fred Astaire’s white-washing of black culture is awful. That being poor is awful. That not being able to get a job because you’re Jewish is awful. He’s finally realized that all those feelings he stuffed down were correct. Awful.
Arthur looks over his notes at home. “Make funny observations.” He begins a sentence, writing, “The worst part of having a mental illness is,” dropping his pen from his right hand. Picking up a cigarette, he inhales in thought. And, as if pulled like a puppet on strings, his left had drifts to the pen. He takes up the pen with a flourish, and in childish, left-handed writing, scrawls, “people expect you to behave as if you D🙂N’T.”
And Joker is born. A man losing what little he had. Replaced by a persona made of his greatest hopes and fears. A man who has finally found a means of getting attention. And a symbol that others can follow. A man whose life suddenly means something. For better or worse? I don’t know. How many innocent people do you think were killed in Avengers? Or the new Superman films? What about all of those Storm Troopers Finn guns down? Isn’t he a former Storm Trooper? Didn’t he just meet a group of fellow, former Storm Troopers? But violence against nobodies doesn’t count.
What you need to do is shoot three rapey-dudes who tried to beat you up, but also worked for Thomas Wayne. It’s like he shot some other finance bros with high foreheads and slicked back hair. And suddenly, the town is on fire, and soon enough, literally. Everyone knows those guys are awful. And they don’t really care that they were subjected to the sort of thing they face every damn day. As a matter of fact, good. Why can’t bad things happen to bad people once in a while?
That is the main violence committed by Joker in the film. The question on everyone’s mind isn’t if the murders were justified. But how it is interpreted by the media. The important, and the unimportant folks reaction in the city. What does this killing touch off that turns a city against itself in a French/Russian Revolutionary frenzy? And what about Bruce Wayne? Where is he? How does he receive his “super power?” Why’s his daddy complex better than another’s?
Tune in next time to find out! Seriously, I just have too much to say on this film. So, since the film comes in such a neat and trim, perfect 2 hour, 3 Act format, we can all re-watch and learn more together. I’ve brought us to the beginning of the end. We’re well into “the point of no return” for Arthur Fleck and for this wonderful flick, Joker. We’ll wrap it up after the Oscars. And see what the Academy thought.
In the meantime, let’s remember what Sinatra sang on the subject:
That’s life, and as funny as it may seem Some people get their kicks Stompin’ on a dream But I don’t let it, let it get me down ‘Cause this fine old world it keeps spinnin’ around.
I’ve been a puppet, a pauper, a pirate A poet, a pawn and a king I’ve been up and down and over and out And I know one thing Each time I find myself flat on my face I pick myself up and get back in the race!
That’s life, I tell ya, I can’t deny it I thought of quitting, baby But my heart just ain’t gonna buy it And if I didn’t think it was worth one single try I’d jump right on a big bird and then I’d fly!
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J. Lakis 