In the dark screening hall.
Davis Moore sat in his seat with some excitement, his eyes fixed on the big screen.
He'd been anticipating this movie for a long time; to snag tickets, he hadn't visited late-night spots or strip clubs much in the past month.
I hope it doesn't disappoint me.
He thought to himself.
With the intense BGM, the special DC comic intro flashed by, Martin Meyers Production smashed onto the screen in massive letters, the screen flickered, and the film began.
Suicide Squad's story was mainly adapted from the classic full-series comic—Nightshade Odyssey.
In this 1988 comic, the evil side of Enchantress—the Succubus—began breaking free from Enchantress's control, preparing to merge with her brother "Incubus" to birth the Demon King and wreak havoc on the human world. The Suicide Squad, borrowing member "Nightshade's" power, crossed into the "shadow world" and united to thwart this conspiracy.
It could be said that Martin's Suicide Squad heavily referenced this comic in key character relationships and plot direction. In the film, Amanda Waller mentions the "3600-year-old Enchantress" from another dimension, pointing to the comic's "shadow world," and the relationship between Incubus and Succubus was one of the driving forces in the plot.
As a major subplot in the film, the "Joker" was also largely adapted from the graphic novel Joker, where both involved the Joker, post-release, clashing with major gangs. The Joker's driver, Jonny Frost, from the comic also appeared in the film.
In the scene where the Joker buys off the prison guard, the kitchen hung with fresh meat and a burly man chopping away all had prototypes in Joker.
Though the screen time wasn't much, when Martin's "Joker" appeared on screen, the entire theater erupted in passionate cheers that left people stunned.
And Martin's performance didn't disappoint the audience's expectations—he portrayed the Joker's madness and chaos with exquisite finesse, making the subplot of the "Joker Girl" being seduced and brainwashed by the "Joker" seem entirely reasonable.
What a joke; with a "Joker" like that, not just the Joker Girl—any woman would fall for him.
Because of the numerous characters, Suicide Squad was an extremely "crowded" film; character setups and development had to be completed in the shortest time to unfold the plot.
So, Martin used "character cards"—with team members' images as the main visual + dynamic subtitles—to accelerate character building.
And as the film's eye-catcher, the moment the Joker Girl appeared, she instantly stunned everyone.
Uh, okay.
Not everyone—just the men.
In the dimly lit, cage-like cell, the Joker Girl hung upside down from a rope, her upper body in a tight white tank top, her lower body in yellow prison pants torn into strips, like a Hawaiian grass skirt.
As she hung inverted, the strips dangled down, revealing pale, firm legs that gleamed under the light.
Seeing the soldiers approach, Harley Quinn did a lazy stretch, fully displaying her figure's curves; you could see the male soldiers in the frame swallowing.
And outside the frame, countless male viewers were swallowing too.
Harley Quinn was born in 1992's Batman animated series, originally named Harleen Quinzel. When the Joker captured Arkham Asylum, Harleen Quinzel was his primary doctor, but unexpectedly, she was counter-seduced by the Joker, her personality drastically changed into the madly-in-love Joker Girl.
Suicide Squad continued this classic setup while incorporating the new one from DC's 2011 "New 52" reboot, where Harley Quinn, like the Joker, gained no pain sensation and immunity to poisons after being dunked in the chemical vat, fully embracing madness.
In the Harley's flashback scene, the Joker in a suit and Harley in her classic red-and-blue bodysuit danced elegantly.
Their outfits replicated the 1999 Batman: Harley Quinn comic cover; this single-issue comic was the debut of the animated-born Joker Girl into the main DC comic universe. The cover, drawn by artist Alex Ross, had become an immortal masterpiece in comic art history.
This scene, Martin filmed with extreme mystery and sensuality.
Under the dim lights, Harley Quinn swayed her figure, occasionally revealing her butt cheeks—simply a saliva factory for the pervs.
And Martin's Joker was forever in the shadows, his face not even clear, just occasionally flashing a sinister smile in the light.
It made people's scalps tingle while stirring their souls.
The love between Harley and the bad guy was comics' famous "Stockholm" romance; the bad guy abused Harley, but she never left him.
In DC's 2011 reboot, considering political correctness and feminism, the rebooted Harley was no longer the bad guy's appendage; instead, she eyed Deadshot with affection, the two often flirting inappropriately. Harley even put on the bad guy's face for cosplay.
In the animated Assault on Arkham, Harley and Deadshot even rolled in the sheets.
In the film, Martin still extended this setup, but he wouldn't let the Joker Girl and Deadshot truly pair up—just a bit of minor flirting here and there, since the "Joker Girl" belonged to everyone, and the pervs might not like seeing her fall into someone else's arms.
In the dark, Will Smith was a bit sullen; he found that in the final cut, his scenes seemed fewer than the Harley Quinn and Deadshot's presence in the film was extremely weak.
But he also noticed that after the "Joker Girl" appeared, the theater's atmosphere changed—that swallowing sound was practically in his ear.
"Damn, am I really past my prime?!" He couldn't help thinking.
Leonardo was swallowing too.
He'd never imagined this woman he'd dumped had such a sexy side.
Not that Margot Robbie wasn't sexy herself, but she lacked the Harley Quinn wickedness—and evil itself is a kind of sexy!!!
"Fuck, no wonder Martin said I'd regret breaking up with Margot."
"I motherfucking regret it."