Smile - Joker (A piano essay)

Smile - A Piano Essay on the feature film ‘Joker’ (Accompanying commentary)

I. The Supporting Act
The essay opens with a solemn swelling of an F major arpeggio. A ballerina stands elegantly in the spotlight, confusing the viewer: why aren’t the hands in focus? The ironic use of camera focus is the opening statement of this essay, “This is more than just a piano cover.”

This essay focuses on the struggles faced by Arthur Fleck as he tries to integrate in a broken society. The F major arpeggio is distinctive of classical music: strict, regular, and mathematical; it represents the society of Gotham city and the rules which Arthur must comply with. You can hear the melody being constrained by this structure; the right hand is led by the left hand arpeggios and not the other way round. The deep bass notes that are played at the start of each arpeggio act as a grave reminder of this state; always watching, and always ringing in Arthur’s mind.

II. The Waltz
The next stage in the essay opens with a change in pace. The strict arpeggios are replaced with oddly placed waltz rhythms. The broken rhythm represents a broken society; it is progressing in the same way that classical music moved towards romanticism but it struggles to adapt to the sudden period of transition. A deliberate robotic playing of the melody tells the story of how Arthur struggles to integrate with society. Yes, the melody and the accompaniment are in sync, but only in such a mechanically rigid way that the outcome is practically laughable.

Arthur quickly realises the futility of his actions. An Ab diminished chord strikes and Arthur begins to dance to his own waltz. The melody comes to life in its own flair and the waltz accompaniment shifts to smooth left hand passages. Opening this passage is a hesitation. Arthur isn’t sure if he should be himself, however the beautiful theme bursts with never-before-seen colours and emotions that could only be seen once Arthur broke free from the metaphoric prison cell bars of Gotham’s society.

III. The Transformation
Arthur enters a state of epiphany. He is no longer constrained.

The music changes key and the theme plays over and over again in twisted variations. Arthur is playing with his newfound reality and toying with the dark fantasies that come with it. As Arthur descends into his true self, so does the melody. The performer’s hands move further and further away from the spotlight as Arthur transforms. Finally, Arthur finds himself and the music shifts back to the key of F major in a rapid but powerful build up.

Momentary silence ensues as the world holds its breath. The velvet curtains lift… and out steps Joker.

IV. The Triumph
Epic left hand passages and rich lyrical right hand octaves blend together in a symphony of emotions. Arthur Fleck is no more and Joker is born. The leads have switched places. The left hand now compliments the right hand melodies, not the other way round. Joker is the singular truth; all must bow to his will.

Drum rolls in the form of left hand octave tremolos prepare the audience for one last act. The essay reaches the climax, two claps of a C7 chord, the scene where Joker stomps the stairs in full blown confidence. To end the essay, a delicate arpeggio is played by the left hand; society is in a better place (at least in the eyes of Joker) and the essay comes to its end. The left hand returns to the bottom of the keyboard where society will always remain while the right hand ends side-by-side with the ballerina. Now, both the Joker and the ballerina are in focus. The Joker is no longer just a supporting act. As Arthur says himself, “People are noticing me.”
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Видео Smile - Joker (A piano essay) канала Lucky Piano