Is ‘Joker Folie à Deux’ Inspired by This Martin Scorsese Movie?


The big picture

  • Joker: Folie à Deux
    will be a musical sequel directed by Todd Philips, which diverges from comic book movie expectations.
  • The film seems to be inspired by Martin Scorsese's
    New York, New York
    fusing dark themes with the musical genre.
  • The sequel promises a unique and bold take on the Joker narrative, showcasing the characters' shared passion for acting.

The premiere of the trailer of Joker: Folie à Deux it was received with much anticipation and fanfare. Todd PhillipsThe sequel to the provocative 2019 DC Comics adaptation has been shrouded in mystery. The whole audience knew for sure what it was Joaquin Phoenix would reprise his role as Arthur Fleck, and team up with the Joker's twisted sidekick, Harley Quinn, played by Lady Gaga. Word had circulated that the joker The sequel, once again, would deviate from the banal expectations of comic book movies by functioning as a musical. Observant moviegoers picked up on a pattern. Yes joker was inspired by taxi driver i The king of comedy, i would do it Folie à Deux be a tributeNew York, New Yorkanother philips idol movie, Martin Scorsese?

New York, New York

Set just after World War II, the film follows the volatile romance between a jazz saxophonist and an aspiring singer. As they navigate the ups and downs of their careers in New York City's bustling music scene, their ambitions and personal conflicts reflect the pace and mood of the times.

Publication date
June 21, 1977

Liza Minnelli, Robert De Niro, Lionel Stander, Barry Primus, Mary Kay Place, Dick Miller

Execution time
155 minutes

Main genre

Earl Mac Rauch, Mardik Martin

“New York, New York” was very ambitious for Martin Scorsese

joker, a billion-dollar grosser that received 11 Academy Award nominations (including a Best Actor win for Phoenix), was a clear homage to Martin Scorsese's work. Perhaps too much tribute. Many critics and viewers mocked Phillips shamelessly mimicking Scorsese's themes and visual language, especially when the allusions were treated as watered-down, karaoke versions of the cinematic master's films. Structurally and tonally, joker is in debt taxi driverThe nightmarish portrayal of a disillusioned loner driven to violent outbursts. Arthur Fleck is in love with a late-night talk show host, Murray Franklin (Robert de Niro, in another obvious homage), and an unhealthy desire for public validation. This was the basis for The king of comedythe prescient satire on celebrity obsession and the glorification of viral figures.

Scorsese, who once considered directing joker, seems to occupy creative real estate inside Todd Phillips' head. Even after the financial success and divisive discourse surrounding the film, he can't let Scorsese go for his sequel. Phillips' follow-up to his taxi driver-film inspired will be a subversive take on the classic musical genre. In the 1970s, Scorsese followed taxi driver with a subversive take on the classic musical genre with New York, New York. The 1977 film is such a deep cut into Scorsese's catalog that most casual fans would be oblivious that he ever directed a musical. Starring Robert De Niro and Liza Minnelli like two ambitious musicians who become fateful lovers, New York, New York it was a daring experiment by Scorsese. He combined his admiration for classic MGM musicals with a New Hollywood sensibility. While its production design and narrative scope evoke the work of Gene Kelly i Vincent Minnellithe film possesses the same cynical tone and vision of society that taxi driver.

This artistic collision manifested different results. The film is a slow-motion viewing experience, which is a rarity for a Scorsese film. Throughout its long running time, the deliberate artificiality of the film's setting juxtaposed with the depressed relationship between Jimmy Doyle (De Niro) and Francine Evans (Minnelli) was jarring to the senses. New York, New York it is less of an artistic achievement and more than a fascinating text to analyze for its imperfections. Because, as obvious as the imperfections are, they arose out of sheer ambition on Scorsese's part. It was the kind of impressive creative swing that was common during the 1970s. New York, New Yorka commercial and critical failure, it quickly became synonymous with the bloated excess and megalomania of New Hollywoodwhich spiraled out of control at the end of the decade, subsequently ushering in the commercialized blockbuster era of the 1980s.

'Joker: Folie à Deux' gives a dark touch to the musical genre

If Scorsese intended to make an anti-musical, then Phillips is on track to make an anti-sequel. Franchise filmmaking, particularly of the comic book variety, ostensibly prides itself on being commoditized assets. To the chagrin of avid cinephiles, comic book movie sequels tend to feel like a run-of-the-mill product. Leaving aside any thematic complaints, joker excelled at breaking away from the excess of IP cinema thanks to its 70s-inspired visual aesthetic and unflinching portrayal of a psychotic anti-hero who resembled someone closer to our real world than a fantastical comic book universe. Despite the support of the franchise joker, if there was any doubt about Phillips' creative freedom, look no further than the concept of its sequel. The film industry, of late, has had a taboo relationship with the music genre. In late 2023 and early 2024, three studio musicals were released in theaters: Wonka, The Color Purplei bad girls. Each of their respective marketing campaigns hid their musical DNA.


Jack Nicholson was allergic to his Joker makeup in 'Batman'

The Clown Prince of Crime is ready for his close-up after getting a little creative.

Based on its opening trailer, it seems Joker: Folie à Deux will wear his musical badge on his sleeve. Arthur Fleck and Harley Quinn first see eye to eye while she is in a choir class. The two are shown dancing in an MGM-like soundstage, a dance theater, and the gritty streets of Gotham. “We use music to make us whole,” states an undisclosed character in voiceover. This feeling of lonely and fractured people converging for the love of the performing arts it's at the core of many of history's most beloved musicals. It's also a thread shared by Scorsese's “revisionist” musical, New York, New York. “I'm nobody,” Harley says. “I've never done anything with my life like you've done,” she admits to Arthur. Devoid of plot mechanics and expressed solely through emotions, Folie à Deux Teases a perverse romance about two nefarious outcasts who bond over their mutual passion for acting. Miraculously, a trailer for a new Joker movie shares more artistic and thematic traits An American in Paris than its previous DC predecessors.

How will Joker and Harley Quinn affect Gotham City?

Lady Gaga as Harley in Joker: Folie à Deux
Image via Warner Bros

In New York, New York, Jimmy and Francine, two dedicated artists, could never live together romantically without compromising their music careers. Arthur Fleck and Harley Quinn's bond may be a match made in heaven, but Gotham City's decaying society will suffer as a result. In the spirit of Martin Scorsese, it's safe to expect Joker: Folie à Deux it will be a dark and tormented remix of a genre associated with a jovial spirit. The duo formed by Arthur Fleck and Harley Quinn is the no Fred Astaire i Ginger Rogers.

We won't know for sure until the film's release in October, but all signs point to Todd Phillips continuing to carry the mantle as Scorsese's proverbial tribute band in the standalone DC universe. While it's fair to criticize Phillips for his blatant acts of homage, he deserves credit for pushing the envelope. He could have easily taken the billion dollar hit of the first movie and made something spin off. On the other hand, the director is creating a bold expression of genre manipulation for a mass audience.

New York, New York is available for purchase on Amazon.

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