Directed
by Aaron Schoenke
Written
by David Hammond, Aaron Schoenke and Sean Schoenke
Based
on the DC Comic Characters Created by Bob Kane and Bill Finger
Produced
by Sean Schoenke and Aaron Schoenke
Cinematography
by Aaron Schoenke
Editing
by Aaron Schoenke
Art
Direction by Ron Rogge
Make-Up
Design by Jeff West
Original
Motion Picture Score composed by Sean Schoenke
Paul
Molnar … The Joker
Kurt
Carley … Henny Youngman; The Psychologist
Robert
Tovani … Jason Todd/Robin
Rachel
Nicole … Harleen Quinzel/Harley Quinn
Sean
Olney … Arkham Guard
Rusty
Locke … Red Hood Thug 1
Vince
Adams … Red Hood Thug 2
Allen
Harris … Joker Thug
Nicle
Klepper … Joker Victim
Sophia
Di Ferrigno … Joker’s Wife
Jessica
Butler … Barbara Gordon
Kevin
Porter … Batman
Deep
in the basement of Arkham Asylum, a desperate psychologist has secretly set up
an interview with the mass-murdering Joker.
-----------------------------------------------------
Sometimes,
the greatest Batman stories don’t focus on Batman at all, realizing that
surrounding the caped crusader is a laundry list of intriguing, psychologically
provocative characters rich with material to delve into.
With
2005’s “Patient J,” the focus is placed once more upon the Clown Prince of
Crime himself and in the end, the film reminds us exactly why it is that, of
all Batman’s foes, the Joker forever remains his most potent.
Deep
within the cavernous under dwellings of Arkham Asylum, Psychologist Henny
Youngman (Kurt Carley) sets up an impromptu meeting with the Joker (Paul
Molnar) meant to fill the pages of a book the good doctor is currently penning.
As
their discussion begins to descend into Joker’s history, his fixations with
Batman and their mutual bloodstained relationship it soon becomes clear that
tension is mounting.
The
result is an extremely close and intriguing look at the off chance of what just
might be the motivating factor of the Joker’s actions over all these years; a
peek behind the veil as to what his madness entails.
Shot
for the most part in one lone location (the basement of a haunted house in
fact), “Patient J” is the perfect example of fans telling a story while knowing
full well their limitations.
As
a result, we’re not given a mediocre attempt at some feature length, three act
narrative involving Batman battling his villains. No. Instead we’re given a
menacing and well executed analysis of Batman’s deadliest and most
unpredictable adversary. The film is about as moody as it gets, and it’s a
great place to start when it comes to taking a deeper, more psychologically
based look into Batman’s world through the Joker’s eyes. In many ways, the film
argues that Joker is actually a more interesting character than Batman himself
(I certainly don’t think a sit-down to delve into Wayne’s psyche would be
nearly as enthralling, perhaps) and hearing the speculative reasonings given by
screenwriter David Hammond and writer/director Aaron Schoenke to the Joker’s
intent in what he does is exceedingly fascinating.
The
production, following a trajectory started by Bat in the Sun’s earlier work,
continues to improve as we’re given professionally executed costumes, cinematography,
set decoration and, most notably, performances.
Casting
is usually thrown to the winds for fan productions as the filmmakers generally
turn to friends and acquaintances in order to fill roles with bodies. Here it’s
no such thing.
I
just love the tense chemistry between Carley and Molnar. In many ways, given
that he IS the Joker after all, Paul gets an early start in taking the picture
for himself, but when the twist occurs, Kurt pulls the reigns just as
effectively. His ability to emote even in the earlier portions of the
conversation when it seems he’s not is so subtle and so good.
For
Paul, it’s clear that he’s being inspired by previous incarnations of the
character, ranging most heavily from Mark Hamill’s turn in “Batman: The
Animated Series” to Alan Moore’s “Killing Joke” graphic novel. That being said,
it’s clear that it is inspiration and not downright plagiarism (like so many
Ledger-wannabes these days). Paul has a sense of unpredictability in his eyes almost
reminiscent of Michael Keaton as Batman that makes the film awfully tense. At
any moment, he could conceivably leap across that table and kill Youngman; at
least that’s the impression I got.
On
the flipside, he has a crazy calm during the whole of the piece (thanks to his
being ‘behind the curtain’) that makes his Joker all the more of a curiosity until
he goes full blown with his punchline, giving us the menacing Joker we all know
and love.
Aside
from the discussion the two men are having, the film is bulked up with a trio
collection of nifty and beautiful vignettes highlighting key points in Batman
and Joker’s struggle with one another.
The
first is staged, shot and produced in the same vein as the 40s film serials
(although much cooler) and actually features Batman in his original costume
from “Case of the Chemical Syndicate” (!) as it retells his encounter with the
Red Hood from “Killing Joke.” I just loved the editing style here, with the
quick single-frame cuts that seem lifted right out of the motion picture
serials. And of course that moment when the Joker emerges from his chemical
bath, complete with a mouth-full of foamy discharge (!) as his mind completely
goes. So awesome!
The
second, beginning as a slight homage to the 1960’s television series features
Jason Todd as Robin the Boy Wonder and the dreaded account of the Joker beating
him to death and leaving him to be caught in an explosion as told in the mid
80s epic “A Death in the Family.” The only thing I wish this scene had done
more of is fill in on the fact that this took place in Ethiopia and not Gotham.
You wouldn’t know that just by watching it.
But
regardless, the scene is quite powerful; haunting really.
The
moment where the Joker declares his wanting to be Robin’s best friend; I still
find that chilling. We also get a great Neal Adams/Jim Aparo approach to
Batman’s costume complete with the yellow-encircled Bat and the Blue/Gray color
scheme.
The
final is a fantasy; a ‘what-if’ scenario crafted by the Joker of his last
conflict with Batman. It’s charming that it takes place in a theatre on a
stage, just as the Joker feels the world to be. How he presents the final
battle to an audience of empty seats (though to his twisted mind, perhaps they
aren’t empty) is rather clever. Here we’re given a Jim Lee approach to Batman
as well, lifted right out of the “HUSH” storyline.
The
film’s score is pretty good, although it could’ve stood to be a bit more
original (the track for the ‘Birth of the Joker’ sequence came from Aaron’s
“Dark Justice” short film) but Sean did a wonderful job at presenting the
anguish and morbid whimsy of the Joker and Arkham Asylum as a location.
I
also LOVE the use of Nat King Cole’s “Smile.” It’s lovely (even in the demented
context with which it’s used) and it’s a perfect fit for the Joker, as is Jim
Carrey’s cover of “I Am the Walrus” for the film’s end credits.
In
the end, without spoiling the ending, the film is a fascinating probe into the
Joker’s conscious (and perhaps his subconscious). As I said before, it does
remind you why he remains the end all, be all of the caped crusader’s villains.
Sort
of like Spielberg and Film. How part of you resents the exposure he gets but
when you stop to take a good look you realize that he’s so good at what he does
that it’s earned him his position in the ranks?
That’s
what “Patient J” does for the Joker.
Wonderfully
crafted, charmingly macabre, “Patient J” is a wonderful tribute to arguably the
single greatest villain in comic books.
Now,
on with the show!
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