Gotham Rejects: The Jokers of Non-Comic Book Cinema

Todd Phillips’s Joker (2019) is the only R-rated movie to reach a billion-dollar worldwide box office gross, making it the highest-grossing movie with that rating in history. The bronze and silver medals on that list go to two other adult-oriented comic book movies, Deadpool (2016) and Deadpool 2 (2018), respectively – but Joker’s lead still trumps them by over a quarter of a million. Further, it garnered a whopping eleven Oscar nominations, including a win for Joaquin Phoenix as the eponymous supervillain. Seen and beloved by a vast range of audiences which transcend the comic book fan demographic, there are clearly elements at play here which, in the eyes of the general consensus, elevated this dark tale into another realm. A phenomenon of sorts, it was something new – something fresh, original, and special for the genre. That said, the very elements contributing to its uniqueness may not be so unique outside of traditional comic book fare. For the Joker appreciators seeking more films of its ilk, away from the superhero genre, here is a selection of 15 other non-comic book films that share some of its special ingredients.

Taxi Driver (Martin Scorsese, 1976)

The most widely seen and celebrated film on this list, it goes without saying that Martin Scorsese’s grungy 1976 New York City classic is essential viewing for cinephiles. But I’ll say it anyway for any Joker fans out there who may not have checked it off their watchlists yet: Taxi Driver truly is essential viewing. Following Robert De Niro’s Vietnam veteran cab driver who is repulsed by the streets he drives each and every night, Scorsese and writer Paul Schrader plant us in the mindset of a lonely, mentally unstable man whose psychological state slowly deteriorates until he takes it upon himself to exact his revenge upon society. In story, setting and style, Joker unabashedly wears the influence of this film on its sleeve.

The King of Comedy (Martin Scorsese, 1983)

Less popular to mainstream audiences but equally essential to the equation of Joker’s influences, this 1983 Scorsese picture may even amount to more than half of the equation. Another antihero played by a terrific Robert De Niro (whose casting in Joker serves as a nod to this film), the character of Rupert Pupkin is a failed comedian who is obsessed with the fantasy of appearing on his favorite late-night talk show to perform his comedy routine. Living with his mother, lonely and delusional, his mission is to turn that fantasy into a reality. He persists in his mission to the point of no return, ultimately resorting to criminality in order to ensure that his dream is fulfilled. Funny, complex, and relevant still to this day, The King of Comedy deserves to be held in high regard within film culture in the same way as Taxi Driver. It is evident that Todd Phillips agrees.

The Fan (Tony Scott, 1996)

Fandom is a recurring theme in these films, and especially the obsessive behavior associated with it. The Fan boasts yet another De Niro performance as an unhealthily devoted fan of baseball player Bobby Rayburn. He will stop at nothing to help his favorite player succeed, even if that means getting some blood on his hands. Tony Scott’s film, while perhaps not on the level of its two predecessors on this list, is worth a look for those who enjoy watching eccentrically crazed Robert De Niro characters resorting to violence in the name of dedicated fandom. The lauded actor sure is captivating in that particular pocket.

Big Fan (Robert Siegel, 2009)

In keeping with the theme that names itself in this title as well, Robert Siegel’s dramedy Big Fan paints a fascinating picture of another lonely man who lives with his mother – in this case, an obsessed football fan played to perfection by comedian Patton Oswalt. This pathetic yet somehow endearing protagonist gets beaten up by his favorite Giants player one night, and is then faced with the aftermath of pressure and interrogation which threaten the chances of his precious team achieving victory. The climax of the film, in which our antihero paints his face and arms himself on a quest for justice a la the Joker, is especially satisfying in its payoff. This is a small film, but a gem.

One Hour Photo (Mark Romanek, 2002)

The great Robin Williams remains one of the cinema’s finest jokers, not only in his comedic genius, but in his ability to portray complicated characters such as Sy the Photo Guy in Mark Romanek’s dramatic thriller One Hour Photo. Another psychologically unwell loner with obsessive tendencies, Williams plays a photo developer who takes such a liking to a family of regular customers, that he slowly begins to insert himself into their lives, in ways that start out innocuous but soon become unwelcome and creepy. The line walked between warmth and danger proves the iconic actor’s singular ability to endear audiences through roles like this one: the “sad clown,” so to speak.

Ingrid Goes West (Matt Spicer, 2017)

Putting a modernized, female-led, social media-centered spin on The King of Comedy’s formula in certain respects, Matt Spicer’s darkly comedic Ingrid Goes West tells the story of a deeply lonely and mentally unstable woman, played superbly by Aubrey Plaza, who obsesses over the impossibly glamorous lives she perceives to be led by Instagram influencers. Her disturbing obsession narrows in on one account in particular, and she then commits herself to befriending the woman behind it in an effort to – essentially – become her. Along with a central character who is a Batman super-fan, the film shares a lot thematically with Joker, as well as the other aforementioned films, notably in its depiction of a protagonist who would typically be portrayed as a villain.

Nurse Betty (Neil LaBute, 2000)

Neil LaBute’s Nurse Betty is another dark comedy following a delusional woman on a mission to meet her idol. After having borne witness to the shockingly violent murder of her husband, Renée Zellweger’s PTSD-suffering protagonist becomes obsessed with a character on a soap opera, believing him to be not only a real person, but her former fiancée. She desperately aims to re-unite with the non-existent doctor, while followed by her husband’s murderers seeking fortune, played by Morgan Freeman and Chris Rock. Balancing tones to solid effect, with help from its reliable cast, the film has an edge to it that might satisfy admirers of these other twisted tales.

The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)

Perhaps the best film to examine idolization-turned-contempt on this list is Andrew Dominik’s sweeping western epic, The Assassination of Jesse James by the Coward Robert Ford. The latter character’s status from outlying worshipper, to close friend, to eventual killer of the infamous Jesse James, is mesmerizing to watch through the lens of Roger Deakins in one of the most gorgeously shot films of its era. Brad Pitt and Casey Affleck play the titular roles brilliantly, and are supported by a plethora of great actors. Affleck carries most of the film as Robert Ford, imbuing him with fragile vulnerability, childlike ambition, jealousy, and several more complex layers which ultimately contribute to the “cowardly” act he commits. Watching the central relationship unfold is riveting, and the fact that this film has stayed off so many audiences’ radars is a mystery. It is an incredible film with the makings of an American classic.

The Assassination of Richard Nixon (Niels Mueller, 2004)

Sticking to real-life figures, here is another film about a down-on-his-luck loner who seeks revenge against the society that has betrayed him. Niels Mueller’s The Assassination of Richard Nixon tells the true story of a sideways salesman whose unraveling life led him to concocting an assassination plot against the person who represented all that had failed him: the president. Sean Penn delivers an unsurprisingly strong performance as the central psychopath, making him – as well as the film – a worthy entry in a list of anti-hero portraits.

Falling Down (Joel Schumacher, 1993)

One of the ultimate “fed up with society” films, Joel Schumacher’s Falling Down is a highly entertaining dramatic thriller with moments of delicious dark comedy sprinkled in for good measure. The story wastes no time revealing itself as we witness a fuse blow inside the mind of our seemingly ordinary protagonist, played by Michael Douglas, as he exits his car in the midst of a traffic jam and simply walks away. As the day progresses, and he is faced with instance after instance of enraging societal encounters, he unleashes his wrath against the world in a violent odyssey on his way to his daughter’s birthday party. The film does a striking job of putting us in the shoes of the protagonist, having us root for him even when he is waving a machine gun around a fast food joint. We know it’s wrong but, like many of the films listed here, there is a human element that keeps us on his side throughout his downward spiral.

God Bless America (Bobcat Goldthwait, 2012)

“Taking out the trash, one jerk at a time.” This tagline for comedian Bobcat Goldthwait’s God Bless America accurately represents the exploitation-esque tone served in the film’s darkly comedic story of yet another man who has simply had enough. Joel Murray stars as a terminally ill man frustrated by the daily injustices performed and perpetuated by inconsiderate, cruel and toxic citizens of his country. He teams up with a teenage girl with similar frustrations, and together they go on a wild killing spree, ridding America of some of its most repugnant inhabitants. For those who find their blood boiling at the sight of spoiled reality TV teens or noisy movie theater patrons, Goldthwait’s film provides some fun wish-fulfillment, as well as some unexpected heart.

First Reformed (Paul Schrader, 2018)

Circling back to the first film on this list, First Reformed is helmed by Taxi Driver screenwriter Paul Schrader, studying another man whose faith in the world around him gradually crumbles, while his psyche follows suit. Our protagonist in this case is a minister played tremendously by Ethan Hawke, and his loss of faith thus pertains to more than just faith in humanity, but faith in God himself. Riddled with grief, PTSD, loneliness, depression, and possible stomach cancer, the pastor spirals out of control as he becomes obsessed with the wrongdoings of his fellow man against the environment. Cynical and gloomy as it may be, the perspective of the protagonist again invites the viewer in to understand his thoughts and feelings, making the unstoppable evisceration of his psychological well-being that much tougher to endure.

The Master (Paul Thomas Anderson, 2012)

The last three films on this list fall into the category of “Unhinged Joaquin Phoenix Performances,” and I am starting off with my personal favorite of any film I have included: Paul Thomas Anderson’s The Master. Anyone who found Phoenix’s turn as the Joker as awe-inspiring as the Academy would be foolish not to seek out his electrifying work as a (here it comes) lonely war veteran with PTSD, who falls into a strange cult led by a charismatic doctor and “theoretical philosopher” played by a mesmerizing Philip Seymour Hoffman. The film itself is a masterpiece on several fronts, putting you under its spell and ceasing to let go even after it ends, but Joker fans should especially tune in for Phoenix, who gives a performance so raw, emotional, unpredictable, ferocious, and endlessly dissectible, that it begs to be considered in the conversation of all-time great acting, full stop.

I’m Still Here (Casey Affleck, 2010)

For Joker fans who may not be aware, Arthur Fleck’s psychotic meltdown on Murray’s talk show is not the only such display of interview mania in Joaquin Phoenix’s career. Casey Affleck’s mockumentary, I’m Still Here, documents Phoenix’s fictitious retirement from film as he pursues a new career in rap artistry. Phoenix committed himself to the role for an entire year, actually convincing the world that he was quitting acting for good. In order to achieve the full effect of this experiment, he appeared on David Letterman’s talk show for a cringe-inducing interview in which he truly appears to have lost his sanity. The film itself, which features the interview, is an interesting look at the mind-corrupting world of celebrity, and Phoenix’s dedication to a role that invited such global scrutiny is, truly, a commendable feat.

You Were Never Really Here (Lynne Ramsay, 2018)

Last but not least, and at the risk of boxing the incredible actor into a typecasting hole of deranged, violent, PTSD-suffering men living with their mothers, Lynne Ramsay’s grimy psychological thriller You Were Never Really Here is a strong showcase for Phoenix as another tormented war veteran, who unflinchingly disposes of his enemies as he tracks down missing girls. Artfully directed with some unforgettable sequences of horrific acts alluded to but not explicitly shown, Ramsay crafts a hallucinatory atmosphere which reflects the violence-starved mindset of the traumatized lead character, and Phoenix brings his trademark emotional rawness to the table with long-lasting impact.

The majority of the films mentioned here are led by anti-heroes who would naturally be perceived as “crazy” by the general public. And yet, these films successfully place the viewer in those very mindsets, exemplifying the medium’s power to create empathy for those with whom we may not typically identify. These films, their directors, their writers and their leading actors, serve to debunk the notion that a protagonist needs to be “likeable” in order for their film to be effective. A character is not just “good” or “evil”; “normal” or “crazy”; they can be multi-faceted beings with mental struggles, traumas and/or illnesses which motivate their inhumane behaviors – but they are still humans. In analyzing the formula by which films like Joker hit a nerve with such a wide variety of audiences, perhaps that humanity is the most important ingredient of all.