The Joker movies Dealing with Heath Ledger has always been a problem

More than a few spectators exiting Phillips Joker 2 we have come to the conclusion that, finally, we KNOW how Ledger’s Joker got his scars: he imitated a more famous Joker (Phoenix’s Fleck) after killing him, stealing his throne and thunder.

We imagine Christopher Nolan would be very tickled by this emerging hypothesis / fan theory. After all, it just turned out that he stopped the first one joker movie that has more or less the same misleading ending.

In a surprisingly quick bit of behind-the-scenes gossip that comes out in the following trades Joker: Folie à DeuxThe horrible opening weekend of, unnamed sources have revealed The Hollywood Reporter than the original joker The film was supposed to conclude with Phoenix’s Joker slashing Glasgow’s smile off his face in front of an adoring and cheering crowd, presumably during the scene where he made a bloody smile in the film’s final cut. movie

“But The Dark Knight filmmaker Christopher Nolan killed that idea.” THR reported, “believing that only his Joker (Heath Ledger) should cut his face off. But Nolan is no longer at the studio, so there was no resistance to the idea this time.”

Nolan probably had reason to be protective of the iconography he invented, and Ledger gave it amazing life nearly 20 years ago. After all, we have to stress that the nameless inmate of Arkham played by Connor Storrie is no a version of Ledger’s Joker. Ledger’s Joker is either 20 or 30 in 2008, more than 25 years after the events of Joker 2. Plus, we saw exactly how Thomas and Martha Wayne died in Nolan’s Batman trilogy, and they were of a nobler kind than the cynical elitists and demagogues presented to viewers in Phillips’ 2019. joker.

And yet, understandably, some casual viewers who may not remember every intricate detail or scene from 19-year-old movies like Batman Begins may come away with the false impression that Phillips’ Joker films are de facto prequels to Nolan’s trilogy, and that Phillips’ Joker is a “grounded” and artistic contextualization of Ledger’s iconic performance.