“My life is nothing but a comedy”: madness and revenge tragedy in Todd Phillips’ Joker (2019)

Abstract

This dissertation analyses the employment of madness and the revenge tragedy in the contemporary Hollywood film, Joker (dir. Phillips, 2019). By focussing on the causation that leads to the protagonist’s tragic fate, I argue that the protagonist’s use of blood revenge is due to the city’s indifferent nature towards its marginalised and mentally ill citizens. Though the protagonist’s crimes cannot warrant any justification, an empathetic understanding can be bridged to the audience due to the intimate portrayal of his suffering. Madness is most certainly loaded with diverse histories and persists as an anomaly to humans. The current interpretation of madness, within the context of mental illness, greatly differs from its early understanding incorporating societal rejection of those who failed to uphold the standards of societal convention. In Joker, it is further attributed to individuality and liberation from the constraints of societal convention. My research maintains that the film deploys madness as a defensive and coping mechanism against the tyranny of societal structures, through which the protagonist emancipates his dangerous and powerful Joker persona. In addition, I analyse the portrayal of mental illness in Joker. I impartially explore the film’s rally for mental illness awareness and compare it to its damaging depiction of a violent and murderous mentally ill protagonist. The film essentially embodies both redeeming and harmful portrayals of mental illness. I henceforth assess the presence of the revenge tragedy in Joker by examining the formula of the genre’s leading precedent, The Spanish Tragedy (Kyd, [1592] 1898). The Kydian formula establishes the structure of a revenge tragedy narrative employing blood revenge as its primary method of retribution, and it is through this formula that I am able to locate and justify the presence of the revenge tragedy in Joker (dir. Phillips, 2019). Due to the cold-blooded vengeance the protagonist undertakes, I evaluate the cautionary tale around the mistreatment of the mentally ill which gave rise to the events in the film. As a result of this, my research asserts that the protagonist ultimately occupies the seat of the anti-hero despite the brutal nature of his crimes. The societal system reigns as the true villain of the film, because if it were not for the systematic marginalisation of Gotham’s disadvantaged and mentally ill citizens, as well as the callous nature of society, then the protagonist may have not walked down the dark path that he did.