‘The People’s Joker’ Review: Vera Drew’s Transgressively Creative Caricature Finds New Angles on the Crazed Clown

After seeing three different live-action depictions of the Clown Prince of Crime in the past 16 years – including two which won acting Oscars – audiences may have had enough of the Joker. And after screenings of The People’s Joker were canceled at film festivals under the shadow of potential copyright issues, it felt as if audiences wouldn’t even get the chance to see the latest version of Batman’s nemesis. But thankfully, the film has been freed. This Joker, brought to life by director-writer-star-editor Vera Drew, brings something new to the character that not even the most obnoxiously-committed method actor would’ve been able to unearth. Drew’s anarchic creation is something remarkable in that its very existence actually feels dangerous. And as such, this might be the closest possible depiction of the madness, mania, and magnetism of the Joker, not just in terms of the portrayal of the character but also in the very structure of the film itself. This fantastical romp along the rocky paths of identity brings something new not just to the superhero genre, but to the world of film as a whole. It’s compellingly messy and gloriously unpolished, with a focused perspective from the filmmaker herself that allows audiences to find something strangely empathetic in the typically enigmatic character.

To anyone who saw the hollow Todd Phillips-helmed origin tale starring Joaquin Phoenix as the villainous clown, the bones of the story of The People’s Joker will seem familiar. It follows the life of Joker the Harlequin (Drew), a struggling clown making her way through the bowels of the Gotham City comedy scene, after escaping her small town life and close-minded mother (Lynn Downey). In fact, comedy has been outlawed, and the only acceptable career path is through the state-sanctioned late night sketch show UCB Live (UCB stands for “United Clown Bureau,” of course). She and her newfound friend the Penguin (Nathan Faustyn) seek to establish an “anti-comedy” venue in order to express themselves without government interference. There, Joker finds the confidence to come out as a trans woman, along with acquiring a brooding boyfriend Mr. J (Kane Distler), who bears a strong resemblance to Jared Leto. Joker the Harlequin comes into full understanding and acceptance of her true identity and seeks to disrupt the oppressive rules around comedy, which doesn’t sit well with the standard-bearers of societal norms, including a CGI Lorne Michaels (Maria Bamford), and even Batman (Phil Braun) himself.

The world of The People’s Joker is brought to life using over 100 different artists to create the animation, character designs, and backgrounds. As such, the film is something akin to a patchwork quilt of different visual styles and sensibilities – a fitting representation of the underground creative energy that the story centers around. And yet, Drew’s authorial voice is present throughout the entire film, despite the vast assemblage of artistic personalities who assisted in bringing the film from the page to the screen. It’s a testament to the filmmaker’s strongly defined perspective, rooted in her own personal life. 

As might be expected knowing how it was made, the film therefore stands out for its visuals. Not only are hand-drawn and computer-generated animation used to create the backgrounds and select characters, but certain sequences use a wide array of unexpected visual mediums, including action figures, Legos, puppets, and more. Minute to minute, it’s impossible to predict what lies ahead. Occasionally, the low budget nature of the film is made apparent due to the quality of some of the backgrounds, which sometimes look off when the camera and live-action subjects move. But even these instances have a charm to them, and the film is full of just as much impressive imagery. One scene with Joker the Harlequin and Mr. J embracing on a CGI cliffside while the camera swirls above them is particularly beautiful.

Much like the Joker character herself, the film takes a number of wild and unpredictable turns and detours as its plot progresses. Flashbacks, narration, and asides pepper the film, like an easily distracted friend telling what should be a straightforward story. However, rather than being exhausting, this hyperactive energy works well thematically, as it makes the audience sympathize with the more imperfect, human parts of the titular character and her worldview. In most Hollywood-produced films featuring the Joker, he’s either a supporting villain or, as in Phillips’ version, an unreliable central figure who is pointedly observed rather than serving as an audience surrogate. Here, Joker the Harlequin is not only the film’s subject, but also the narrator. The movie’s entire point-of-view is filtered through her twisted, anarchic perspective. And with this, the story’s themes of self-discovery and acceptance are made clear. This is the very definition of a queer film, not just in subject but in execution and style. It upends the rules and boundaries of the established medium, just as queer existence does to a heteronormative world.

Such borderline-academic analyses may paint The People’s Joker as an intellectual exercise, accessible only to those whose personal stories align with that of the main character. In reality, the film is entertaining and hilarious. It’s stuffed with humorous observations, recurring bits, and plenty of referential jokes to some of the funnier aspects of modern queer pop culture (at one point, a character mentions “I know drag was also forced back underground after RuPaul’s fracking ranch exploded and killed a thousand people.”)

The People’s Joker is experimental, bold, and above all else, fascinating. In a world where IP is shuffled dutifully and unenthusiastically through the meat grinder that is the modern Hollywood production model, it uses well-known characters in a way unlike anything that’s been seen lately. Given how much it carves its own path and thumbs its nose at the status quo of cinema as an artform, there’s no doubt that the Joker would approve of Vera Drew’s creation.

Grade: B+

The People’s Joker opens in New York City on Friday, April 5 at IFC Center, in Los Angeles on Friday, April 12 at Landmark’s Nuart Theatre with a nationwide rollout to follow.