JOKER: A Life in Global Politics this Decade

'JOKER: A Life in Global Politics this Decade'

-Vikram Grewal

“Is it just me, or is it getting crazier out there?” When Arthur Fleck asks this rhetorical question to his therapist in the film Joker (2019) starring Joaquin Phoenix, the audience answers it in their heads.

Tunisian street vendor Tarek al-Tayeb Mohammad Bouazizi must have asked the same question to himself on 17^th December 2010 before self-immolating and posthumously starting- what came to be known as- the ‘Arab Spring.’ The movement that would arguably give 21^st Century its own set of revolutions. ‘The Protestor’ was named the Person of the Year by TIME Magazine that year. The Spring swept across North Africa then and continued to inspire multiple revolutions- throughout this decade and right until very recently in 2019 in Lebanon, Iraq, Algeria and Sudan.

In 2011, the Occupy Wall Street movement began in USA against social and economic inequality. New York City woke up to the calls of “We are the 99 per cent!”- in a similar fashion to how Gotham’s sleep is disrupted by the Clowns’ riot and Joker’s menacing dance during the climax of the movie. The ideas of the former were integrated into the film; however the non-violent slogans were detonated to the scale of ‘Kill the Rich’.

A tribute to the works of Martin Scorsese- Taxi Driver and King of Comedy in particular- the film derives heavily from the trends of the political landscape. Oppression, discrimination, alienation, economic disparity and moral destitution are elements that push Arthur Fleck to the realm of Joker. These elements form the recipe for popular discontent. And 2010-19 has been the decade of discontent.

The Umbrella Movement of 2014 reincarnated in Hong Kong this year. The Yellow Vests in France wreaked havoc while protesting for economic justice in 2018. India also witnessed its share of public outcry- from Anti-Corruption dharnas to the on-going CAA unrest. The Protestor has traversed oceans from Indian to Pacific: uprisings in Venezuela rendered the regime vulnerable; in Bolivia the incumbent had to step down; in Brazil anti-racism rallies are regular.  

Moreover, the movements for economic democracy across western hemisphere are recurring. A common opposition to big corporates meddling with electoral politics can be witnessed across boundaries. The subversion of the ‘Batman narrative’ comes in handy here- and that is done plausibly by the film. Thomas Wayne’s election campaign is set as a backdrop and Joker is seen as a voice against Wayne Enterprises.

The reversal of the Batman-Joker equation when it comes to the ‘origin stories’ of the characters is also an interesting twist. The Batman is an indirect creation of the Joker. Anarchy breeds forces of order- the Hobbesian perspective is accounted for and will be justified in the sequel perhaps.

Finally, we have a Joker for this decade. A ‘post-Global Financial Crisis Joker’! Heath Ledger did his part in an awe-inspiring manner- trying to ‘have some fun’ in a ‘why so serious’ unipolar capitalistic universe in 2008. Joaquin Phoenix embodies the catharsis of the post-crisis world; he stares at alienation in the face; he accepts ‘happiness being the goal of life’ maxim and then questions it; his laughter reflects pain rather than joy; an aspiring comedian whose sense of humour is at odds with the society.          

Most readers would argue that the analogy of Joker isn’t suitable for the Protestor as the motivations of Joker stem from mental illness and his inherently sinister nature. While Fleck is trigger-happy, the protestors are unarmed. One may argue that there is a fundamental divergence in the means and ends of both the entities. However, that isn’t the case. Arthur resorts to violence after days of trying to ‘spread happiness’ and ‘always keep a smiling face’- external factors (losing his job, his mother’s lie, his meeting with Wayne and Murray Franklin’s parody of him) pushed him to the wall. We witness something similar in non-violent movements that turn into arson and life-threatening scenarios.  

As far as ends go, both need a sense of acceptance and power to influence decision making and both yearn to start something bigger than their own selves. When we see Joker extending his bloody smile at the end, there is a moment of realization that his actions do mean something for the state. And the state responds- he’s detained and sent to the Arkham Asylum.

But here lies the centrepiece! When Joker recounts some instances while speaking to his psychiatrist, we are left in the lurch- was it all in his head… the whole tragedy-comedy dichotomy and compatibility races across our eyes as Fleck steps out in his blood-smothered shoes and grooves to the voice of Frank Sinatra. What happened to the riot in Gotham? What happened to all the protests of this decade? How many lives were lost? How many demands were met? How many governments gave in? How many of them succeeded?

When in the 60s, Zhou Enlai was asked about the influence of the French Revolution on global politics, he said “It is too early to tell.” So, basically we don’t have answers yet. And, well, “That’s life.”