lm

you cannot
ha

As part of Film Desks Summer Review, Fr Dark Knight. Set in a cityscape embroiled of the hero and the villain in spectacular f

ha ha ha

t the time of going to press, The Dark Knight had broken eight box-ofce records and holds the position of second highest grossing lm of all time behind Titanic. An impressive feat, even for a lm as highly anticipated as this one. With controversy swirling around the BBFCs 12A certication and Christian Bales alleged assault of his mother and sister, the sequel to 2005s Batman Begins has rarely been out of public discussion since its release in July. So what exactly is it about TDK that has surpassed all expectations set for the comic-book movie, and is it really as awless as the world seems to think?

c ar d my
42 / lm@gairrhydd.com

r es He

(Two-Face

" " "

you thought we could be decent men at an indecent time

It is achingly difcult to try and pinpoint what makes this lm so menacingly wonderful; it may well be the sleek cinematography and dark representation of Gotham City; or perhaps its the explosive action sequences packed to the inch with re, violence and devastation; or perhaps its in the tiny details of construction of charac-

"

rancesca Jarvis takes a look back at this summers most successful blockbuster , The d in corruption and immorality, the latest Batman installment challenges our notions fashion...
ter. Whether you can single out just one of these aspects or not, theres no denying the power of performance in The Dark Knight. Aaron Eckharts Harvey Dent plays a hugely symbolic and tragic role in Nolans story. His rise and fall, as orchestrated courtesy of Ledgers Joker, teaches us all that there isnt always happy endings in the world of the blockbuster; far from it, in fact. Dents transformation from wise white-knight intent on saving the heart of Gotham to a desperate and tragic menace is perhaps one of the most underrated elements of the whole lm. In complete contrast then, comes Heath Ledgers performance as The Joker, drenched in hype since his untimely death in January of this year. It may be no surprise that the role has been perhaps the most talked-about aspect of the movie, with tremendous critical reception and calls for an Oscar nod come 2009. And for completely good reason. Ledger is a mascot for chaos, with sadistic characteristics and an urge for rebellion. As Michael Caines Alfred puts it so brilliantly; Some men just want to watch the world burn. The Joker encapulates this statement viviidly, entering the realm of comedic maniac in a beautifully written and constructed character. His vice for destruction and demolition is echoed in every little mannerism and detail, every lick of the lips and every line delivered that drips with sardonic deliberation. The Dark Knight will always hold echoes of the tragedy of Ledgers death, but it never fully overwhelms the performance or the lm itself. There is thankfully a gulf of distance between Ledger and his Joker; one that the audience can distinguish between and enjoy regardless of the circumstances of the world outside Gotham City.. And if that isnt the mark of a truly ne actor, then Im not sure what is. Despite Ledgers status as crux of the lm, Christian Bale is still wonderfully tortured as playboy billionaire Bruce Wayne, ghting with what it means to be Gothams most unlikely self-sacricing antihero, and star turns from Michael Caine, Morgan Freeman, Gary Oldman and Maggie Gyllenhaal are all equally as solid. Nolan's second directorial meeta city plagued by this type of terror, one that lingers and unsettles both its inhabitants and its audience. One major criticism of the lm that seemed to appear in the days following its release was its epic 152 minutes running time. A time that resulted in parts 'dragging', and certainly not a time suitable for a children's lm. But let's remember something; Batman, under the new watch of Christopher Nolan, has never claimed to be short, simple and child-friendly. Instead, we are delivered an intense tale of morality, sacrice, terror and violence in a world created from make-believe. The Daily Mail recently waged a hate-campaign on the British Board of Film Classication for their certication of the lm, claiming it too violent and terrifying for children 12 and under to watch. It's no Spiderman, but the origins of comic-book come from the imagination, and this is merely Nolan's. It's uncertain where the franchise goes from here. With such a successful release nancially and critically, it's almost a dead cert that the studios will want more of the same in years to come. With the third act bringing some atonshing surprises however, the future for Bruce Wayne and Batman is ultimately shrouded in a shadowy ambiguity. Whatever happens next for the dark knight, it'll be tough to top this summer's biggest, and undoubtedly best, movie. It's by no means awless, but it's about as close as you're going to get.

be serious!
" "

lm

introduce a little anarchy

(The Joker

ing with the Batman franchise is arguably a more sleek and grittier affair than the rst, bringing the terrorised streets of Gotham alive with blue-tinted spectacle and an uneasy sentiment of fear that trails the plot as it reaches some of its more pivotal moments. Critics have compared this unease to a mirroring of our world in a post9/11 state, inside an atmosphere of orchestrated fear and terror that is so prominent throughout the Western world. Nolan's Gotham is

"

lm@gairrhydd.com / 43