The term “angry young man” evokes a specific image in cinema, specifically British actors like Richard Harris, Tom Courtenay, and Richard Burton rebelling stoically against their fate in British new-wave films like “Look Back in Anger,” “This Sporting Life,” and “The Loneliness of the Long Distance Runner.” In American cinema, however, angry young men occupy a darker, more violent space. From Travis Bickle in “Taxi Drive” to Tyler Durden in “Fight Club,” American depictions of disillusioned men often turn towards violence.
Their motives may range from heroic to vengeful to chaotic, but these stories inevitably result in someone getting hurt. These films are rarely franchise material, as their protagonists seldom find redemption. But Todd Phillips’ “Joker,” a meditation on the origins of masculine rage within the Batman universe, is looking to break the mold by returning with a sequel, “Joker: Folie à Deux,” which opens at The Triplex this week.
This sequel delves into the aftermath of the first film’s destruction, examining why such protagonists become cinematic folk heroes. It is an unsettling question; these characters offer audiences cathartic release, but considering the real-world consequences of their actions dampens the thrill. Yet, it is vital to burst the bubble around these films.
In reality, anger doesn’t dissipate when the credits roll; it festers. If we fail to understand where this anger goes and how it manifests in societ.