Joker (2019): 8 Major Problems No One Wants To Admit

6. The Story Never Sells Arthur's Downfall

Warner Bros.

By far one of the most frustrating things about Joker is that, unlike Taxi Driver, the film never really sells Arthur's downfall. There are several triggers for his descent into full-blown mania, but there's never a sense of escalation, and without escalation, there's no momentum.

At the start of the film, we see Arthur is freelancing as a clown for hire. He gets beaten up by a bunch of youths at the beginning before we're introduced to his psychologist. We're told that his medication isn't doing anything and that his treatment has hit a brick-wall, but the film never really lends any weight to that first interaction. Instead, Arthur heads back to work, where he's then given a gun by an ill-intentioned co-worker, and it causes him to lose his job.

Another trigger, yes, but there's not a steady sense of decline at this point.

Hours after losing his job, Arthur gets beaten up by three yuppies while they sing 'Send in the Clowns'. It's pleasant to see they're in on the irony of the occasion, but it's here where Arthur first lashes out in self-defence; he shoots two of the men who are attacking him, and then guns down the third in cold blood. This, in essence, is his first act as the Joker.

Joker Arthur Fleck
Warner Bros.

From then on in, any sense of escalation to Arthur's decline is repeatedly stymied by the plot's structure. For Arthur himself it feels like a constant flatline of depression, and it's not until he reads his mother's letter, learns of her diagnosis and realises that - in one of the film's few truly great moments - his relationship with Sophie has been a figment of his own imagination, that things truly take a turn for the worse.

But, before then and even after, the film meanders and plateaus. If the intent was to make it seem as though Arthur always was the Joker and that these various triggers (going on medication, losing his medication, discovering his connection to Thomas Wayne, etc.), had little to no effect, then more power to Joker. As it stands though, as a character study about one man's descent into madness, the film's story fails.

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Content Producer/Presenter

WhatCulture's very own resident movie guy, Ewan has been working in the content creation biz for over 10 years now, having started as a freelance contributor to WhatCulture Gaming all the way back in 2015. After graduating with a First-Class Honours in History from Northumbria University in 2017 (where he won a prize for a totally killer dissertation on the Watergate years), Ewan took on the role of Comics Editor at WhatCulture and quickly developed WhatCulture Comics into one of the biggest superhero-focused channels on YouTube. He followed this with a brief hiatus at Screen Rant in 2021, where he worked across the Gaming and Film sections as a writer and editor, before returning to WhatCulture as a Senior Content Producer / Presenter in 2023. He started his own podcast, We Love Dad Movies, in 2022, and has contributed several written pieces to the Eisner-nominated comics website Shelfdust as well. In his current role, Ewan incorporates his love of cinema, comic books, and history into written pieces and video essays for WhatCulture's Film & TV channel, as well as WhatCulture Gaming and WhatCulture Horror, with a particular focus on nineties-era Dad Movies, old school Westerns, and Golden Age Hollywood Noir. John Carpenter is his fave, and he thinks Batman Beyond should never have been cancelled. If that's your vibe, you'll probably like his stuff.