Singin’ in the nuclear rain- new films push the musical genre in a darker direction
In a notable shift in the world of movie musicals, filmmakers are now delving into complex themes such as murder, apocalyptic scenarios, gender reassignment, and the plight of political prisoners—all while weaving in elements of singing and dancing. “Welcome to the 2024 musical landscape,” says filmmaker James Mottram. “This era marks a radical reinvention of the genre, moving away from the lighthearted charm of classics like ‘High Society’ to embrace much darker themes.”
Take “Joker: Folie à Deux,” for example, the eagerly awaited sequel to 2019’s “Joker.” In this film, Joaquin Phoenix and Lady Gaga deliver striking performances, bringing classic songs like “Bewitched, Bothered and Bewildered” and “That’s Entertainment!” to life. The transition of such a somber narrative into a musical feels surprisingly appropriate, particularly when recalling how Phoenix’s character, Arthur Fleck, showcased his dance moves in the original film. “Joaquin and I talked about the musical elements a lot while shooting the first film,” director Todd Phillips shared during the Venice premiere. “Arthur has music inside him, and those dance moments capture his emotions.”
Phoenix’s performance carries a depth that surpasses mere aesthetics; it harks back to Tim Burton’s 1989 “Batman,” where Jack Nicholson famously danced to Prince in Gotham. However, the new rendition—melding Phoenix’s haunting vocals with Gaga’s—boldly redefines the genre. Gaga, who won an Oscar for “Shallow” in “A Star Is Born,” portrays Lee Quinzel, an ardent admirer of the Joker.
Further pushing the envelope of this musical renaissance are films like “The End” and “Emilia Pérez.” Directed by Joshua Oppenheimer, acclaimed for his documentary “The Act of Killing,” “The End” depicts a dysfunctional family confronting the guilt stemming from an ecological disaster they partially caused. “It’s a film about storytelling and denial,” Oppenheimer explains. “Through music, the characters try to persuade themselves that their chaotic reality is manageable.”
Inspired by the legacy of Rodgers and Hammerstein, “The End” subverts the conventions of traditional musicals. “It’s almost a ‘dark age’ musical,” Oppenheimer notes, “where silence often unveils truths more effectively than the songs.”
On another front, “Emilia Pérez,” directed by Jacques Audiard, tells the poignant story of a Mexican cartel leader undergoing a gender transition. The soundtrack, crafted by French musicians Clément Ducol and Camille Dalmais, blends various genres to capture a wide array of emotions. “Music serves as a safe vehicle for addressing difficult topics,” Ducol states. “For ‘Emilia Pérez,’ the score incorporates everything from rock to slam poetry, creating a diverse musical tapestry.”
Both films showcase heightened emotional depth as characters break into song. “It’s about vulnerability,” Dalmais adds. “When Emilia sings, we witness her heart transform, allowing her to express her deepest feelings.”
While these films are not the first to tackle serious themes—think of the countercultural classics “Hair” and “Cabaret” from the 1960s—it seems that contemporary filmmakers are increasingly keen to modernize the traditional musical format. Upcoming projects like Bill Condon’s adaptation of “Kiss of the Spider Woman” and the Bob Dylan-inspired “Girl from the North Country” are set to keep this trend thriving.
For Ducol, this musical renaissance is just beginning. “Every story can find its voice in song and dance,” he shares. “Imagine a film composed entirely of slam poetry or a city where every ambient sound creates a rhythmic symphony. I’d love to portray everyday life through this musical lens.”
Could this signify a new era in musicals? It certainly appears to be getting started. “Joker: Folie à Deux” is currently in theaters, “Emilia Pérez” will premiere at the BFI London Film Festival on October 11, and “The End” is slated for release next year.
