One Stormy, Dark Knight
Don’t take your kids to see this one.
When they call it the Dark Knight, they really mean it.
The effects of night keels over the city of Gotham like an oncoming storm. There’s a knowing that something’s bad rushing towards the city. It’s painted in ugly white, red and green. With a dash of purple.
There’s a force of good that radiates in the suburban outskirts in a form of a bat. He stays well-hidden. His ideals is a fixture of justice served. He takes no credit for the good he does.
But he has his opposite. His anti-matter. Batman needs not know that there is a reflection of him that isn’t good. And it stinks of fear. He is like a laughing dog, jumping, pouncing with giddy glee, hitting you with a knife at the same time. Everything’s a joke to him.
Batman and his new rival the Joker test their strengths and weaknesses throughout this well-made psychological thriller that explores the mechanisms of good vs. evil. Digging further into the mind of the lonely, heartless villain such as the clown of Gotham makes Batman aware of his own vulnerable spots.
He realizes that his inspiration has reached the worst of the low: the Joker comes out of nowhere like a vengeful spirit to show what Batman really is. The Joker is played to near perfection by the late Heath Ledger who brings a psychotic streak that’s been long missing in the films. This time, there is reason to be afraid of him.
The focal point of the film must be the interrogation room where the Batman beats some information out of the Joker. There are so many contrasts here. Both excellent actors seeing at eye to eye level. There is deadly humor too. But it is like watching a pieces of a broken mirror here. They are simply two sides of the same coin. It is a frustrating moment.
The Joker seems to enjoy the brutality of things: whether or not he's on the receiving end of it. And the Batman flaunts it at times.
One begins to think the disturbing question: who’s the crazier one here? They are both reckless and endangering to the safety of the city.
The rest of the film surrounds this pivotal moment as these are two titans fighting to take command of the skies and everything below. They are gladiators rushing at each other with full blows and there are no pulled punches. Christian Bale does an excellent job of remaining the center stage of the film despite a far more colorful villain.
But the real acting chops belongs to Gary Oldman who stays remarkably restrained as Jim Gordon who is the lone good cop in a corrupted department infested by bribes and political phone calls looking for favors. He’s much tougher cop here compared to other movie or TV versions. He has to be tough. And this film shows exactly why he becomes commissioner during a time when hell is breaking loose in the city.
There are so many acting presences in here who grab for the spotlight in equally brilliant ways: Michael Caine and Morgan Freeman are supporting actors who still breath life into the script. They remain the heart of The Dark Knight when the tone of it grows far darker.
My only problems, and it is a very minor detail, is that the film almost delights in its darker nature. It is a kind of film that is blackest at its best. There is some humor to alleviate the suppressive tone of it. But there might be not enough to offset the subterranean darkness that beats like an awful pulse beneath this film. Watching this film, in some ways, is akin to having your wound being twisted by a sharp knife over again.
The other thing, also minor, is the film doesn’t spend enough time on the psychological downfall of Harvey Dent, a solid, good hero who finds that he has a dark half sparked by some of the Joker’s gruesome antics. But the film runs at 2½ hours already.
Another great centerpiece in the film is the beginning with the infamous bank heist. Never trust your partner. Trust a criminal even less. And it shows a parody of all the shortcomings a group of misfits would have when robbing a bank. You’d think there’s all to be done with bank robbing? Think again.
There’s some amazing action sequences which shows Batman rushing through the opponents like a force to be reckon with. His skills are very honed in, and he glides through in a masterful dance when going against all odds. It’s simply a treat to see Batman knocking around his enemies just like he’s jumped right out of the comic books.
The film ends on a low-key note as everything is destroyed at the end: Batman’s reputation as he flees the city like a fugitive. All of his associates find themselves at a dead end. The film is drenched in darkness right to the very end when Batman makes his choice. In some ways, there is hopelessness that revolves around the small circle of friends. But the legacy of defeat can turn into a fighting chance to climb back to the top. And this is what Batman does at his best.
There is little love in this dark city. But the hope of goodness, however small, can still be retained in a possible sequel that could very well complete the best trilogy of a superhero mythos. A man without powers. But a man filled with determination, fearless.
When they call it the Dark Knight, they really mean it.
The effects of night keels over the city of Gotham like an oncoming storm. There’s a knowing that something’s bad rushing towards the city. It’s painted in ugly white, red and green. With a dash of purple.
There’s a force of good that radiates in the suburban outskirts in a form of a bat. He stays well-hidden. His ideals is a fixture of justice served. He takes no credit for the good he does.
But he has his opposite. His anti-matter. Batman needs not know that there is a reflection of him that isn’t good. And it stinks of fear. He is like a laughing dog, jumping, pouncing with giddy glee, hitting you with a knife at the same time. Everything’s a joke to him.
Batman and his new rival the Joker test their strengths and weaknesses throughout this well-made psychological thriller that explores the mechanisms of good vs. evil. Digging further into the mind of the lonely, heartless villain such as the clown of Gotham makes Batman aware of his own vulnerable spots.
He realizes that his inspiration has reached the worst of the low: the Joker comes out of nowhere like a vengeful spirit to show what Batman really is. The Joker is played to near perfection by the late Heath Ledger who brings a psychotic streak that’s been long missing in the films. This time, there is reason to be afraid of him.
The focal point of the film must be the interrogation room where the Batman beats some information out of the Joker. There are so many contrasts here. Both excellent actors seeing at eye to eye level. There is deadly humor too. But it is like watching a pieces of a broken mirror here. They are simply two sides of the same coin. It is a frustrating moment.
The Joker seems to enjoy the brutality of things: whether or not he's on the receiving end of it. And the Batman flaunts it at times.
One begins to think the disturbing question: who’s the crazier one here? They are both reckless and endangering to the safety of the city.
The rest of the film surrounds this pivotal moment as these are two titans fighting to take command of the skies and everything below. They are gladiators rushing at each other with full blows and there are no pulled punches. Christian Bale does an excellent job of remaining the center stage of the film despite a far more colorful villain.
But the real acting chops belongs to Gary Oldman who stays remarkably restrained as Jim Gordon who is the lone good cop in a corrupted department infested by bribes and political phone calls looking for favors. He’s much tougher cop here compared to other movie or TV versions. He has to be tough. And this film shows exactly why he becomes commissioner during a time when hell is breaking loose in the city.
There are so many acting presences in here who grab for the spotlight in equally brilliant ways: Michael Caine and Morgan Freeman are supporting actors who still breath life into the script. They remain the heart of The Dark Knight when the tone of it grows far darker.
My only problems, and it is a very minor detail, is that the film almost delights in its darker nature. It is a kind of film that is blackest at its best. There is some humor to alleviate the suppressive tone of it. But there might be not enough to offset the subterranean darkness that beats like an awful pulse beneath this film. Watching this film, in some ways, is akin to having your wound being twisted by a sharp knife over again.
The other thing, also minor, is the film doesn’t spend enough time on the psychological downfall of Harvey Dent, a solid, good hero who finds that he has a dark half sparked by some of the Joker’s gruesome antics. But the film runs at 2½ hours already.
Another great centerpiece in the film is the beginning with the infamous bank heist. Never trust your partner. Trust a criminal even less. And it shows a parody of all the shortcomings a group of misfits would have when robbing a bank. You’d think there’s all to be done with bank robbing? Think again.
There’s some amazing action sequences which shows Batman rushing through the opponents like a force to be reckon with. His skills are very honed in, and he glides through in a masterful dance when going against all odds. It’s simply a treat to see Batman knocking around his enemies just like he’s jumped right out of the comic books.
The film ends on a low-key note as everything is destroyed at the end: Batman’s reputation as he flees the city like a fugitive. All of his associates find themselves at a dead end. The film is drenched in darkness right to the very end when Batman makes his choice. In some ways, there is hopelessness that revolves around the small circle of friends. But the legacy of defeat can turn into a fighting chance to climb back to the top. And this is what Batman does at his best.
There is little love in this dark city. But the hope of goodness, however small, can still be retained in a possible sequel that could very well complete the best trilogy of a superhero mythos. A man without powers. But a man filled with determination, fearless.
posted by K.M. Paters at 3:11 PM
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