The Joker, A New Illustration From LenseBender Studios
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MORE FROM THE DC CINEMATIC UNIVERSE
The list of complaints about last years’ ‘Suicide Squad’ is a long one. The machined-gunned roll-call character introductions, the underdeveloped personalities, the ethnic stereotypes, and the ‘walk like an Egyptian’ Enchantress – and this is just to scratch the surface – earned across-the-board negative reviews and a deeply conflicted audience.
One of the biggest complaints I’ve been hearing? The prison-tatted goth-juggalo Joker. And while this version of The Joker has earned such disdain, Jered Leto’s performance has simultaneously garnered some of the film’s highest praise. In fact, many moviegoers are hopeful for a ‘Joker & Harley’ stand-alone movie(although this is looking less likely with the announcement of ‘Gotham City Sirens‘). Audience responses to both the film and this new iteration of the ‘ganagster’ Joker perfectly illustrates how polarized audiences are.
What many moviegoers aren’t aware of is that The Joker has undergone several transformations over the last seventy-five years. After Batman was given his own stand-alone comic title in 1940, creator Bob Kane needed to introduce a new villain. Interestingly, The Joker was initially supposed to die in the first issue – with a knife through the heart – but the decision was ultimately made to keep The Clown Prince Of Crime on deck as a recurring character.
It’s easy to assume that the earliest depictions of The Joker would more closely resemble the 1960s television series – whimsical and cartoonish, rather than sociopathic and violent. The truth is, in his earliest story arcs, The Joker was a ruthless killer similar to more recent cinematic portrayals. It wasn’t until editor Jack Schiff was hired that The Joker’s persona was softened in order to market the Batman comics to a younger audience. After the establishment of the Comics Code Authority in 1954, The Joker was nothing more than a puckish, thieving trickster.
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Editor Julius Schwartz took the reigns in 1964, leading to the near-abandonment of The Joker character altogether. Evidently, Schwartz wasn’t a fan of the character. If it wasn’t for the 1966 Batman television series, The Joker might have faded into complete obscurity. The show was a hit, however, and actor Cesar Romero provided the first ever live (non-comic-book) performance of the iconic character.
After the end of the television series – and despite its success – comic sales were flagging. The Joker was reintroduced in 1973, after a four year hiatus and a decision to change formats. Editors wanted to begin telling more mature Batman stories and shed the whimsical camp of the 1960s. This reincarnated Joker was brought back to his original concept: a ruthless serial killer on equal footing with The Caped Crusader. He was also, for the first time ever, depicted as being completely and undeniably insane.
In 1975 The Joker was granted a stand-alone comic series by DC Comics – this would be the first time that a villain would be portrayed as the protagonist in a comic book serial. The series was short-lived, but The Joker’s popularity expanded rapidly. This would culminate in some of the most iconic graphic novels of the 1980s, spawning feature-length animated films, a reinvigoration of comic book culture, and one of the most ambitious films based on a comic book intellectual property, Tim Burton’s 1989 release of ‘Batman.’
(stay tuned for our exploration of The Joker’s depiction in the 1980s though Suicide Squad)
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