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[Jul. 18th, 2008|01:58 pm] |
The Dark Knight Cometh
Bleary eyed from a midnight showing of The Dark Knight, I sit here some hours later still digesting what I just saw. But before I begin my review, I have to hand it to my girlfriend for accompanying me to this showing. It was her first time lining up in the predawn hours just to see a movie, a comic book movie at that, with a bunch of other geeks, and she didn’t leave horrified. In fact, she enjoyed the experience, and I was happy that I got to share this moment with her. Special moment, special movie. To declare this movie as the greatest comic book film ever wouldn’t be a stretch, however to delineate this as just a “comic-book” movie would be a disservice. For the weight and depth of this movie hits you on so many levels.
Directed by Christopher Nolan, The Dark Knight is the sequel to Batman Begins, and here no longer fettered with having to explain the origin of Batman or show off his technological wizardry as done in the first film, he’s able to weave a tale about the human condition and the consequences of trying to be a hero. Life isn’t fair, and sometimes the decisions you make can be painful, heartbreaking, and overwhelming. When faced with a stressful life or death situation will one cave to his or her own self interest? Heavy themes for a so called comic book movie, but Nolan deftly avoids the trappings of convention, and he does this with a wonderful cast of villains and heroes.
Many know of the untimely death of Heath Ledger, and will probably wonder how his film legacy will be determined in his final performance as the villainous Joker. Rest assured, it is secure. In a word, masterful. Compared to Jack Nicholson’s turn as the Joker in ’89, Ledger’s version kicks his ass on so many levels it’s not even funny. (Actually, to the Joker, it is funny…. HAHAHAHOHOHO). The latest incarnation of the Joker is scary, intimidating, and psychopathic. It’s like nothing you’ve seen before. This is the definitive Joker ever portrayed. I loved one of his opening acts of ruthlessness through his performance of a simple magic trick, by making a pencil disappear. His origin is not explained through flashbacks, but by the Joker himself in narrative form. The scars and the smile are fully told, but the question is do you believe him. He is crazy after all.
One could describe him as a terrorist, his disregard for human life, not caring who he murders, but that description would fall short. For he has a plan, not just to cause wanton destruction, but to expose people and their insecurities. Not just Batman’s insecurities, but the everyday citizen’s as a whole. The Joker does this by seemingly random actions; that in the end is more than the sum of all its parts. To reveal more than that would spoil the key turn in the third act.
Once again played by Christian Bale, the Batman steps above the law as vigilante hero, doing the thankless job of trying to clean up Gotham City. The dualistic nature of playboy Bruce Wayne and his conflicted alter ego is on full display here. Luckily, he has some new help, and that help arrives in the District Attorney of Gotham, Harvey Dent, wonderfully played by Aaron Eckhart. Harvey is seen as a role model, reigning in criminals and bringing them to justice. Unlike Batman’s mysteriousness and questionable practices, Harvey is on the right side of the law, visible for all the public to see. He is the shining light of righteousness, the hope of Gotham City. All the more tragic when that comes in doubt later in the film. To complicate matters Rachael Dawes (Maggie Gyllenhaal), Bruce Wayne’s previous main squeeze, is now on the shoulder of Harvey Dent. Together they form a bit of a love triangle which is interesting to see, as Rachael is forced to eventually choose between the two of them. The outcome of which is something unexpected.
Along for the ride, the wonderful cast is rounded out again with Afred (Michael Caine) as Bruce Wayne’s faithful butler, Lucious Fox (Morgan Freeman) as director of Wayne Industries, and Commissioner Gordon (Gary Oldman), police chief and confidant to Batman. With so many characters, you’d think Nolan would have a hard time juggling them all, but each of them has their characters fleshed out more, and plays a key role in Batman’s inner circle.
Still, what stood out to me was the humanity of struggle between Batman and the Joker. The Ying and Yang of it all. A Jerry Maguire moment happens in the middle of the film, when the two are locked in confrontation, and the Joker says to Batman in a joyful yet creepy way, “You complete me”. One could not be without the other. They are different, yet they are the same. Both live outside the limits of society, persecuted, but one does so out of the greater good. It’s a shame with Ledger’s passing we’ll never get to see this type of dynamic duo again, but in a way I’m satisfied because it would be very difficult to surpass this level of performance.
I was surprised with its PG-13 rating. The violence and gunplay push the boundaries very closely, this could easily have been rated R. The two and a half running time can be considered long, yet it moves by quickly, and once it was over I couldn’t help but want more.
This is a dark, dark film. But with that darkness, there is hope.
What I love about The Dark Knight is that it defies comic book convention, and is deeply rooted in the real world. The heavy themes give it much depth. With the rising gas prices, oncoming recession, continued war in Iraq, and struggle to make sense of it all in a post 9/11 world, I can’t help but to draw parallels.
Sometimes a movie can sink below all that hype. The Dark Knight rises above it all. Without question this is the definitive comic book movie ever made, and may very well be the best movie of the year come Oscar time.
Four out of four stars.
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