It is all a question of color

Rating: 10/10 (14 March 2020)

Superheroes are real, as is well-known, but they have to be unknitted slightly to be understood. This Joker definitely is a very complex and complicated fabric, and I must say it is pure silk imported directly from DC, I mean Washington DC of course. This Joker should be appointed POTUS in chief in the whole world. We would at least have a new world war, and a couple of epidemics because then biological warfare will become the welfare of the poor.
This Joker is simple. An adopted child from a mother who was insane and by another woman who made him totally dependent. He has only one way to evade his fate: be a comedian, meaning be a clown. And a clown he is but for him, it is not an act. It is his real reality, his absolute truth. Laughing at everything, including life and death, is natural, normal, pure salvation. When he finally understands that he was turned into a puppet in the hands of greedy torturers who pull his strings for their own amusement and wealth, he is broken down.
It takes several events for this epiphany to come. His being assaulted and mugged and then beaten into some kind of pulp by a few hooligans on a street clown job of his is the first event. The second is his dropping a gun during an act for children in a children's hospital. You can imagine the reaction of the nurses and bureaucrats there.
After that, he manages to get the file of his mother that is also his file, and Big Bang in the Sky, he knows he is nothing but a non-entity who has to prove to the world that is death is worth dying, or should I say living?
That's how he gets into a brutal and killing descent into hell, and his crimes inspire the youth of the city who start a total rampage to burn cars, to kill police officers, to destroy stores, after looting them, in one word a complete urban riot, most rioters wearing clown masks.
And his wish is certainly fulfilled: "I hope my death makes more cents than my life." Unluckily for him, the cents it makes are not for himself, nor his adoptive mother he has chocked to death in the hospital. After that, he only has to get on a TV comedy show and to kill the anchorman live, or should I say dead but on the air. He will be remembered for sure.
But what does this film prove? It proves - and also demonstrates - that in our modern technically-advanced societies people are nothing but either animals who are tamed or slaughtered when necessary or playthings that are at the mercy of those who can afford to victimize them.
The alternative is rebellion, purely destructive rebellion with only one objective: to provide some entertainment to rioters and some distraction to bored witnesses. It is not a question of justice or freedom of expression. It is only, exclusively a question of self-centered exhibitionism, selfish demands to have what they do not deserve, to be given what is normally due to the educated elite, though they are nothing but educated these rioters who are social or cultural drop-outs. They are called Black Blocks here and there, or Yellow Vest in some other places. They are colorful clowns who will go away as soon as the show will come to an end, and the show will come to an end when a global epidemic decides to get into the limelight. The deadly epidemic will tarnish the glory of some rioters who have not killed anyone, nor broken any brick, but no one can be a superhero at will, can they?
And the show will have to go on afterward. So send in the clowns, as the closing song says so well. After the Yellow Vests, you will have the Red Coats, the Black Marias, and the Blue Bottles or Blue Canaries, and I am sure, sooner or later, the Carmine-Corona-Clowns-COVID-666 will enter and strut on the stage as lethal as life since life always ends with death.
Dr. Jacques COULARDEAU