Jared-Leto-Joker
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What’s truly damaged about this Joker…

OK. Let’s start with the forehead tattoo…

Tattooing “Damaged” on the forehead of one of the most iconic villains of all time is so hilariously clueless, I have to believe that a lot of talented people involved in the movie, including the director and Leto himself, had to be against it. Look, I can live with the Graffix bong collage on his torso—pick your battles—but writing “Damaged” on the Joker’s forehead is like scribing “Sexy” and “Dangerous” on each of James Bond’s pecs (in old English). WE GET IT; WE KNOW THE GUY. My mom knows who the Joker is. Y’all are gonna throw out your back with all this lily gilding, DC. It’s nearly condescending, cynical, and insecure as offering movie goers an instructional manual as they walk into the theatre.

That said, I still think it’s great that they’re making Suicide Squad and I still think Leto can be a fantastic Joker. But when you can’t wash the veneer of the creative committee process from the work you’re trying to pass off as art, people will smell that shit. They’ll know. I think if nothing else, what people respond to most strongly in art, whether exceedingly commercial or avant-garde, is coherence of vision. Which is not the same as a coherent story. It’s that phenomenon when an idea comes from one brain. And that idea is so strong it resonates to everyone involved. That idea influences the actors and crew to add all the right details to enhance the message, not reiterate or rephrase it. That’s what leads to collaboration, not committee. Committee is what’s above, a half-dozen ideas in nearly the same zip code, all pelted against the subject without a great regard for the whole. I’ll give it this, though. Something in Jared Leto’s eyes is still genuinely unnerving. This film might be a case of some clarion calls of talent inspiration cutting through the white noise of second guessing and studio notes.

Ah, I’m talking out my ass at this point. Heh…”damaged”…

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