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Joker: Folie à Deux review: A Masterpiece of Tragedy and Theatrics

It masterfully turns fantasy into reality, refusing to indulge the audience’s desire for escape.

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By Inderjit Badhwar

For those seeking the heart-pounding chaos of Gotham—the car chases, explosions, and violent mayhem that punctuated Joker: Folie à Deux’s 2019 predecessor—you’re bound to feel cheated. This film shuns the devilish spectacle, the apocalyptic laughter, and numbing bloodletting that made audiences reel last time. Instead, Joker takes a different path—one that draws you into a theatrical allegory, where sorrow lurks behind every scene like the unspoken melancholy of Busby Berkeley’s gals, whose smiles mask tears behind the brass and drums. It’s a film that will break your heart if you’re willing to look beneath the surface.

Most critics who have panned this work have utterly missed its genius. They’ve approached it as another instalment of the Batman universe or a Marvel spin-off, never realising they should have been viewing it through a Bergmanesque or Kafkaesque lens.

This is not a superhero movie; it is a meditation on despair. In fact, even with its colour palette, the film strikes the mind in grainy black and white, resonating with the heavy weight of reality and the tragedy that lies at its core.

Tragedy reigns in every frame. From the grimy, passionless prison where Joker awaits trial for his previous murders, to his imploding visage as he engages in cramped and joyless lovemaking with Harley Quinn in a dingy cell, the mood is one of relentless gloom. As the film unfolds, we understand one central truth: Joker is already dead. Joaquin Phoenix’s face in the opening shots tells us this immediately—the rest of the movie exists to prove why this is so. It’s not a question of fate; it’s an exploration of inevitability.

This film becomes a tug-of-war—not just between Joker and the world around him—but between director Todd Phillips, Joaquin Phoenix, and the audience. Phillips and Phoenix push a painful reality down the throats of viewers and characters alike, while the world around them begs for fantasy. It’s as though the cast itself, along with the audience, yearns for the Joker of old—the virile, immanent figure who once offered Gotham’s downtrodden an escape, a chance at vengeance, a wild ride through the storm. But that Joker is gone.

Fantasy, it turns out, is what many wanted—and critics, too, missed the film’s central theme of “fantasy as entertainment.” The repeated number, “That’s Entertainment,” becomes the leitmotif, a sardonic nod to an audience desperate to maintain illusion. The powerful Joker of the previous film offered this fantasy. He was an avenging angel, the ultimate escape hatch for Gotham’s wretched—their abused and neglected, whose collective pain he embodied. He thrilled the wealthy, the beautiful people, the theatre-going elite, who saw in him a Marvel comic made flesh.

Even Harley was captivated by this illusion, but unwittingly, she played the role of femme fatale. In love, Joker became Fleck once again, irreversibly human. And this was his fatal flaw. Joker could never survive as a human. His love for Harley shattered the very fantasy he had created, and in doing so, he signed his own death warrant. The human Fleck had to die, tried and convicted not only for his crimes but for betraying those who longed for him to remain the Joker—the untouchable, the fantastical. Even Harley, in the end, turns her back, revealing that she, too, was just another devotee of the illusion.

This film is an extraordinary piece of art, driven by Joaquin Phoenix’s near-flawless artistry and supported by brilliant character performances from an impassioned cast. It masterfully turns fantasy into reality, refusing to indulge the audience’s desire for escape.

Go see it. Joker is not entertainment for entertainment’s sake—it is art, designed to rip away our comforting illusions and force us into deeper reflection. This is not a film that indulges the tooth fairy; it crushes her underfoot, daring us to see the world as it truly is.

Entertainment

The Sabarmati Report: PM Modi praises film based on Godhra train burning incident, says truth coming out

The Prime Minister’s remarks came in response to an X user who had shared a video of the film’s trailer, which was released on Friday.

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Prime Minister Narendra Modi on Sunday praised the film ‘The Sabarmati Report’, based on 2002 Godhra train incident, saying the truth is coming to out.

He expressed his thoughts on social media platform X, saying, “Well said. It is good that this truth is emerging, especially in a manner accessible to the general public. A deceptive narrative can only last for so long. Ultimately, the facts will prevail!”

The Prime Minister’s remarks came in response to an X user who had shared a video of the film’s trailer, which was released on Friday.

‘The Sabarmati Report’ focuses on the tragic incident involving the burning of the S-6 coach of the Sabarmati Express near Godhra station in Gujarat on February 27, 2002, resulting in the deaths of 59 Hindu pilgrims returning from Ayodhya. This event ignited widespread riots in Gujarat that year.

Directed by Dheeraj Sarna, the film is produced by Shobha Kapoor, Ektaa R Kapoor, Amul V Mohan, and Anshul Mohan, and features actors Vikrant Massey, Raashii Khanna, and Ridhi Dogra.

In response to PM Modi’s commendation, producer Ekta Kapoor expressed her gratitude, highlighting that his praise provided a significant morale boost for the film’s team. Resharing the Prime Minister’s post, she wrote in Hindi on X: “Respected Prime Minister, thank you very much for your encouraging words about #TheSabarmatiReport. They have invigorated our spirits. Your recognition of #TheSabarmatiReport confirms that we are on the right path. Thank you for your love and support.”

This is not the first instance of PM Modi praising a film. In 2022, he lauded Vivek Agnihotri’s ‘The Kashmir Files’. He stated, “History must be conveyed in the correct context. Books, poetry, literature, and films all play a crucial role in this. You’ve likely heard the discussions surrounding ‘The Kashmir Files’; it has certainly ruffled the feathers of those who champion freedom of expression.” The film depicts the 1990 exodus of Kashmiri Pandits from the Valley and features Anupam Kher, Pallavi Joshi, Mithun Chakraborty, Darshan Kumar, among others.

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Tamil Nadu CM MK Stalin praises Sai Pallavi’s film Amaran, says great to bring true stories

The trailer has been released in various languages, with notable personalities such as Nani promoting it in Telugu, Tovino Thomas in Malayalam, Shiva Rajkumar in Kannada, and Aamir Khan in Hindi.

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Tamil Nadu Chief Minister MK Stalin on Thursday lauded the team of Amaran including film starrer Sai Pallavi and Sivakarthikeyan as well as director Rajkumar Periasamy for capturing the bravery and dedication of Tamil Nadu army veteran Major Mukund Varadarajan in his film.

The Tamil Nadu Chief Minister said that he watched the film at the invitation of veteran actor Kamal Haasan

“I watched a movie yesterday #amrnnn after accepting the invitation of my artist friend @ikamalhaasan. It’s great to bring true stories to today’s youth in the form of books – as well as movies! Director @Rajkumar_KP, Major Mukund Varadarajan – Tirumiku has emotionally captured the bravery and dedication of Tamil Nadu army veteran Major Mukund Varadarajan. My congratulations to all the crew of Thambi @Siva_Kartikeyan, @Sai_Pallavi92 and #Amaran for portraying the roles of Indu Rebecca Varghese very well! Big Salute to our soldiers who protect the country – Major Mukund Varadarajan who lives in our memory! @RKFI @gvprakash,” Stalin posted on X.

Recently, the creators of Amaran released the film’s trailer, featuring Sivakarthikeyan in the titular role of Major Mukund Varadarajan. The film narrates the compelling story of the decorated soldier who commanded the Indian Army’s 44 Rashtriya Rifles Cheetah Company and made the ultimate sacrifice for his country. Sai Pallavi joins the cast as well, and the film is premiering today.

The trailer opens with a striking statement from an officer to Major Mukund: “You do not choose 44 RR; 44 RR chooses you,” effectively setting the tone for the heroism depicted in the film. It offers glimpses into Major Mukund’s personal life, showcasing his family’s reaction to his choice to join the military and the love story he shares with Indhu, portrayed by Sai Pallavi.

Intense action sequences illustrate Major Mukund, as played by Sivakarthikeyan, in battle, where he resolutely declines a retreat order from his superior, asserting, “I’ll save every life I can and come back, sir.” Indhu expresses her pride, stating, “I am proud of him being an army officer and me being an army wife.” A poignant moment captures Sivakarthikeyan’s character stating, “This is the face of the Indian army,” highlighting his unwavering determination.

Kamal Haasan, one of the film’s producers, shared the trailer on social media, stating, “Leaders seldom choose a trodden path. They create one where there is none and blaze a new trail. #MajorMukundVaradarajan of Tamil Nadu is one such leader. We take pride in telling his story.”

Inspired by the true events chronicled in Shiv Aroor and Rahul Singh’s book “India’s Most Fearless”, Amaran serves as a tribute to a genuine hero. The trailer has been released in various languages, with notable personalities such as Nani promoting it in Telugu, Tovino Thomas in Malayalam, Shiva Rajkumar in Kannada, and Aamir Khan in Hindi.

The trailer concludes on an emotional note, featuring Major Mukund’s daughter asking Indhu, “You told me appa will come for my birthday, will he come?”

Directed by Rajkumar Periasamy and produced by the iconic Kamal Haasan, alongside R. Mahendran and Sony Pictures International Productions, Amaran poignantly tells the story of Major Mukund Varadarajan and his wife Indhu, encapsulating their journey of love, sacrifice, and the profound personal losses encountered during Major Varadarajan’s heroic service to the nation.

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Reshma & Riyaz Gangji Libas closes day 1 with a spectacular finale at the Bombay Times Fashion Week

The finale walk became the talk of the town as the father son designer duo – Riyaz & Aman Gangji stole hearts as they broken into a groovy dance number with Ronit and Soundarya.

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Television megastar Ronit Bose Roy and the vivacious Soundarya Sharma took to the ramp as the showstoppers for Libas. Saundarya was seen wearing a floral pink lehanga from the collection Mastana while Ronit wore an ivory white bandhgala trench coat handcrafted with cut dana work

Television megastar Ronit Bose Roy and the vivacious Soundarya Sharma took to the ramp as the showstoppers for Libas. Saundarya was seen wearing a floral pink lehanga from the collection Mastana while Ronit wore an ivory white bandhgala trench coat handcrafted with cut dana work

The collection personified all things bridal and trousseau. The collection transcends through a palette of pristine whites, softened blacks, and muted gold undertones. The show was a poetic journey of transformation and rediscovery.

Master pieces from the BTFW collection will be on display at the Libas stores at Pedder Road, Mumbai and in Dubai.

The finale walk became the talk of the town as the father son designer duo – Riyaz & Aman Gangji stole hearts as they broken into a groovy dance number with Ronit and Soundarya.

The set of the show was well appreciated by all guests including top bureacrats, bussiness heads, industrial tycoons and socialites from various walks of life.

The VIP lounge saw Aman Gangji play gracious host as it buzzing it with dignitaries and guests enjoying the peppy music and fun vibes. Aman is all set to take the reigns of the multiple businesses that Reshma & Riyaz Gangji have built in the past 3 decades.

All in all the evening was an amazing display of youthful energy by both Father and Son.

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