PHOTO COURTESY ALTERED INNOCENCE

While the golden age of the cinematic superhero is in an apparent decline, we can point to numerous examples of big-screen glory for the caped folks. From the early warning shot of “The Dark Knight” through the apex of “Black Panther,” there’s plenty of artful and worthy comic-book cinema.

Even the good ones, though, are usually achievements in spectacle and symbolism. When there is a message, it is often subtle — or secondary. These films, remarkable though they often are, do not concern themselves primarily with narrative and certainly aren’t message driven. (If you want to hit every quadrant, you often can’t take risks.)

“The People’s Joker,” on the other hand, is nothing but risk. That’s mostly true because it’s a fair-use appropriation of some of the most recognizable characters on the planet; the film, by writer-director-star Vera Drew, is set in Gotham and follows Joker and her nemesis The Batman, all without the approval of Warner Bros. or DC Entertainment. It is assuredly an example of protected use — despite some behind-the-scenes rancor from the house of Warner, “The People’s Joker” has apparently emerged as legally kosher — but is undoubtedly daring for a young filmmaker to make their own movie about the Joker and hope the film doesn’t get sued into obscurity.

Another risk: It’s a parody that’s more heartfelt and honest than satire ever is. Joker the Harlequin (Drew) is struggling with her gender identity and trying to make it as a comedian in Gotham City. Unfortunately, all comedy is controlled by Lorne Michaels (Maria Bamford) and the UCB (that’s United Clown Bureau) — all of which happens to be owned by Wayne Enterprises, as the caped crusader has begun focusing on protecting and enhancing his public image.

Joker meets a sneering fellow comic named Penguin (Nathan Faustyn), and the two would-be jesters hatch a plan: Start an underground comedy club and skirt authority by labeling it anti-comedy. A murderer’s row of minor villains becomes Joker’s chosen family, including Mr. J (Kane Distler), an enchanting if narcissistic agent of chaos with a cloudy past.

Yes, Joker will confront the Batman (and make it in comedy — sort of), but “The People’s Joker” sees the Dark Knight as little more than an annoyance. The real battle is a struggle for identity — the ongoing journey for Joker, and her performer/creator, to establish a sense of self in an often hostile world. Such questions resonate far beyond any discussion of gender; anyone can relate to Joker admitting that she doesn’t quite know who she is regardless of how she presents herself to the world.

An anarchic blend of animation, low-fi effects and live action is used to remarkable effect; clearly inspired by internet culture as much as by Adult Swim-style pastiche, Drew collages and experiments until something infinitely artful results. Warner Bros. needn’t have feared the improper use of its trademarks; “The People’s Joker” uses them better than the Hollywood studio has in years.

My Rating: 9/10

“The People’s Joker” is playing from May 4-9 at the Harris Theater.