The Dark Knight (2008)

The Dark Knight. Directed by Christopher Nolan. Written by Jonathan Nolan and Christopher Nolan. Release Date: July 18, 2008. Country of Production: Chicago, USA. Key Cast: Christian Bale (Bruce Wayne/Batman), Heath Ledger (The Joker), Aaron Eckhart (Harvey Dent/Two-Face), Michael Caine (Alfred Pennyworth), Maggie Gyllenhaal (Rachel Dawes), Gary Oldman (Lt. James Gordon), Morgan Freeman (Lucius Fox), Anthony Michael Hall (Mike Engel).

Why so serious? Walking into the movie theater at about 11:00 PM, I was overwhelmed with my anticipation for this summer blockbuster. I could barely contain myself; I even enjoyed the Regal First Look. Then when the previews came on (which are just as incredible as some of the plot twists of the movie, so I won't dare to reveal them to you), I just about squealed like an 11-year-old girl who just got a date with Justin Timberlake.

So, I know you are all wondering: How was The Joker? Let me tell you, it's everything you've imagined it would be. Ledger does one of the deepest and darkest representations of perhaps any comic book character ever to make the leap to the silver screen. The Joker's semi-suicidal style, his extremely explosive emotional states, and all dashed with a dark irony that can only be called humor. It's no coincidence that the image I've chosen for this post is from the cover of Allen Moore's The Killing Joke, because it is reputedly the comic that was given to Heath for him to consult while doing his character study, and I believe it's (at only 46 pages) the most scrutinizing look at The Joker to date. One thing that I liked about the movie that may have been transferred from the comic is the idea that The Joker does not even recall his own origin, so rather than flashback and retelling it, he just makes up his own stories to justify his actions, or maybe just for fun. I've chosen to subscribe to the theory that the role of The Joker is cursed, and rumor has it that Jack Nicholson suffered from similar symptoms of insomnia during the shooting of Batman (dir. Tim Burton, 1989).

Another aspect of the movie that I really liked was that the Nolans made a point of reintroducing to the plot one of my favorite elements of the Batman universe: the public ambivalence to his actions. At the end of Batman Begins, he was dangerously close to becoming a mythical hero, and although the audience tends to root for Batman, the Gothamites don't always like his so much. I think that as a character, that may be part of his appeal. Batman has the courage to do what's right, even though he takes shit from pretty much everyone, the villain, the citizens of Gotham, the police, etc. But that's what makes the audience's relationship with Batman so intimate, since we know his secrets, we know that he's really good and we can feel like the only ones in his corner.

I can't say enough good things about this movie, the direction they've gone with the character, and the kind of precedent that they're setting for comic/super-hero movies, in general. See this movie!

OK, I couldn't resist.

DARK KNIGHT
A Second Look by Sally Salt

The 7:00 Friday screening of Dark Knight was not so glamorous. There were no long lines; I found a seat front and center with not much effort. I was hoping to be sitting next to pale, single men trying to preserve their stubs—the fans. Instead I was sandwiched in between a family and a group of mothers. The youngest boy in the family kept confusing the Joker with Two Face. The mothers spent the previews chatting about this morning’s episode of The View.

The comic book movies have always attracted the broadest audiences. I know this. This is why they have been an enormous franchise in Hollywood for the past few years. So what happens when a comic book movie tries to reach beyond the campy parameters of the genre? What happens when a performance of an actor within said movie makes the front pages of newspapers? (It might have just been the style sections, but whatever.)

What happens is you get the biggest movie of the year. It’s a formula. You take a genre that has not reached its potential and make a good film. So there you have it. Wasn’t it the same formula with comic books? They start out as dime store gags and then develop into something worthwhile.

And we can’t forget that Batman has been put on the silver screen before; several times, with many different directors/writers/actors. Before now, everyone had a Batman. Mine was a blend between Adam West and George Clooney set in one of the Tim Burton sets. It was cheesy lines and one-dimensional characters and overacting. My dad loved the “Batman movies.” He went out and bought the $400 full latex Halloween costume after Batman Returns. He wore it for six straight Halloweens, until my brother stopped needing an escort for trick-or-treating. I still have the belt somewhere.

I’ve gotten into fights over my Batman in the past. Guys who grew up with Batman: The Animated Series put their faith in Christian Bale. I held out for more Keaton. I found Bale’s voice ridiculous in costume—a boy pretending to be a man. I never will claim that Keaton was any type of hero, but Bale just seemed like a placeholder for someone more suited for the job. I’m not sure if Dark Knight changed my mind. There was one shot, though, that stuck with me. When Bale and Michael Cane are walking out of the emptied “cave” towards the press conference, Noland shot them walking out from behind. I know that it might have not been Bale making any of these calls (but I can hope)…Bruce Wayne’s suit is a bit rumpled and he doesn’t quite fill it out properly, and he’s not limping, it’s more of a slouch really, but he looks small, too small for his clothes or the room. I know I exaggerate it in memory, but that shot was beautiful.

As for the Joker... Now, I refused to read the Post’s most recent write up of Ledger’s performance, but I did read the headlines. It asked the question: What happens when a villain is more interesting then the hero? What has happened in the past Javier Bardem and the Coen brothers pick up a few Oscars. What happened with Dark Knight was the revolution of a genre.

The theaters were packed because of Heath Ledger. There has been a lot written on the subject, so I’ll just say a bit.

Noland gave him a star’s entrance in the film, delaying him to build the tension, hiding his face from us. All good things.

There are details which make the character, and ignoring the tongue flickers, Ledger got me with his physical movements. When he falls on the ground, shakes his limbs, or limps, he does so with subtle jerky motions. Fantastic.

Most importantly, though, and the primary reason “my Batman” has to be reevaluated, was the writing. The best villains of former Batmans have always been Jokers. Jack Nicholson was the best of these Jokers because his lines and delivery were fab. The best of which was, “I am the world’s first fully-functional, homicidal artist.” (Or something.) The rest of the villains have been either power hungry, peace-keepers, evil scientists, or Jim Carrey. Ledger’s Joker is the first honest-to-god psychopath.

The portrayal of a psychopath usually hinges on good acting—Gunnar Hanson didn’t even have proper LINES! ­—but at least half of the strength of the Joker here is the writing. This is most evident when he tells the variety of stories that he makes up about his scars…and the way he shoots his home videos of the Batman imposter (some pathetic, fat Bryan character whimpering and looking at the ground). This seems like a PBS special on a serial killer, featuring grainy prison interviews and reenactments. I believe that this works the same way No Country for Old Men does—

During the best parts of this film, Dark Knight didn’t feel like a movie, it felt like a case study.