The Dark Knight (2008)
Heath Ledger plays the Joker in Christopher Nolan's second take on the Batman franchise.
Showdown in Gotham Town
Dark as night and nearly as long, Christopher Nolan’s new Batman movie feels like a beginning and something of an end. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind — including “Batman Begins,” Mr. Nolan’s 2005 pleasurably moody resurrection of the series — largely by embracing an ambivalence that at first glance might be mistaken for pessimism. But no work filled with such thrilling moments of pure cinema can
Apparently, truth, justice and the American way don’t cut it anymore. That may not fully explain why the last Superman took a nose dive (“Superman Returns,” if not for long), but I think it helps get at why, like other recent ambiguous American heroes, both supermen and super-spies, the new Batman soared. Talent played a considerable part in Mr. Nolan’s Bat restoration, naturally, as did his seriousness of purpose. He brought a gravitas to the superhero that wiped away the camp and kitsch that had shrouded Batman in cobwebs. It helped that Christian Bale, a reluctant smiler whose sharply planed face looks as if it had been carved with a chisel, slid into Bruce Wayne’s insouciance as easily as he did Batman’s suit.
The new Batman movie isn’t a radical overhaul like its predecessor, which is to be expected of a film with a large price tag (well north of $100 million) and major studio expectations (worldwide domination or bust). Instead, like other filmmakers who’ve successfully reworked genre staples, Mr. Nolan has found a way to make Batman relevant to his time — meaning, to ours — investing him with shadows that remind you of the character’s troubled beginning but without lingering mustiness. That’s nothing new, but what is surprising, actually startling, is that in “The Dark Knight,” which picks up the story after the first film ends, Mr. Nolan has turned Batman (again played by the sturdy, stoic Mr. Bale) into a villain’s sidekick.
That would be the Joker, of course, a demonic creation and three-ring circus of one wholly inhabited by Heath Ledger. Mr. Ledger died in January at age 28 from an accidental overdose, after principal photography ended, and his death might have cast a paralyzing pall over the film if the performance were not so alive. But his Joker is a creature of such ghastly life, and the performance is so visceral, creepy and insistently present that the characterization pulls you in almost at once. When the Joker enters one fray with a murderous flourish and that sawed-off smile, his morbid grin a mirror of the Black Dahlia’s ear-to-ear grimace, your nervous laughter will die in your throat.
A self-described agent of chaos, the Joker arrives in Gotham abruptly, as if he’d been hiding up someone’s sleeve. He quickly seizes control of the city’s crime syndicate and Batman’s attention with no rhyme and less reason. Mr. Ledger, his body tightly wound but limbs jangling, all but disappears under the character’s white mask and red leer. Licking and chewing his sloppy, smeared lips, his tongue darting in and out of his mouth like a jittery animal, he turns the Joker into a tease who taunts criminals (Eric Roberts’s bad guy, among them) and the police (Gary Oldman’s good cop), giggling while he-he-he (ha-ha-ha) tries to burn the world down. He isn’t fighting for anything or anyone. He isn’t a terrorist, just terrifying.
Mr. Nolan is playing with fire here, but partly because he’s a showman. Even before the Joker goes wild, the director lets loose with some comic horror that owes something to Michael Mann’s “Heat,” something to Cirque de Soleil, and quickly sets a tense, coiled mood that he sustains for two fast-moving hours of freakish mischief, vigilante justice, philosophical asides and the usual trinkets and toys, before a final half-hour pileup of gunfire and explosions. This big-bang finish — which includes a topsy-turvy image that poignantly suggests the world has been turned on its axis for good — is sloppy, at times visually incoherent, yet touching. Mr. Nolan, you learn, likes to linger in the dark, but he doesn’t want to live there.
Though entranced by the Joker, Mr. Nolan, working from a script he wrote with his brother Jonathan Nolan, does make room for romance and tears and even an occasional (nonlethal) joke. There are several new characters, notably Harvey Dent (a charismatic Aaron Eckhart), a crusading district attorney and Bruce Wayne’s rival for the affection of his longtime friend, Rachel Dawes (Maggie Gyllenhaal, a happy improvement over Katie Holmes). Like almost every other character in the film, Batman and Bruce included, Harvey and Rachel live and work in (literal) glass houses. The Gotham they inhabit is shinier and brighter than the antiqued dystopia of “Batman Begins”: theirs is the emblematic modern megalopolis (in truth, a cleverly disguised Chicago), soulless, anonymous, a city of distorting and shattering mirrors.
From certain angles, the city the Joker threatens looks like New York, but it would be reductive to read the film too directly through the prism of 9/11 and its aftermath. You may flash on that day when a building collapses here in a cloud of dust, or when firemen douse some flames, but those resemblances belong more rightly to our memories than to what we see unfolding on screen. Like any number of small- and big-screen thrillers, the film’s engagement with 9/11 is diffuse, more a matter of inference and ideas (chaos, fear, death) than of direct assertion. Still, that a spectacle like this even glances in that direction confirms that American movies have entered a new era of ambivalence when it comes to their heroes — or maybe just superness.
In and out of his black carapace and on the restless move, Batman remains, perhaps not surprisingly then, a recessive, almost elusive figure. Part of this has to do with the costume, which has created complications for every actor who wears it. With his eyes dimmed and voice technologically obscured, Mr. Bale, who’s suited up from the start, doesn’t have access to an actor’s most expressive tools. (There are only so many ways to eyeball an enemy.) Mr. Nolan, having already told Batman’s origin story in the first film, initially doesn’t appear motivated to advance the character. Yet by giving him rivals in love and war, he has also shifted Batman’s demons from inside his head to the outside world.
That change in emphasis leaches the melodrama from Mr. Nolan’s original conception, but it gives the story tension and interest beyond one man’s personal struggle. This is a darker Batman, less obviously human, more strangely other. When he perches over Gotham on the edge of a skyscraper roof, he looks more like a gargoyle than a savior. There’s a touch of demon in his stealthy menace. During a crucial scene, one of the film’s saner characters asserts that this isn’t a time for heroes, the implication being that the moment belongs to villains and madmen. Which is why, when Batman takes flight in this film, his wings stretching across the sky like webbed hands, it’s as if he were trying to possess the world as much as save it.
In its grim intensity, “The Dark Knight” can feel closer to David Fincher’s “Zodiac” than Tim Burton’s playfully gothic “Batman,” which means it’s also closer to Bob Kane’s original comic and Frank Miller’s 1986 reinterpretation. That makes it heavy, at times almost pop-Wagnerian, but Mr. Ledger’s performance and the film’s visual beauty are transporting. (In Imax, it’s even more operatic.) No matter how cynical you feel about Hollywood, it is hard not to fall for a film that makes room for a shot of the Joker leaning out the window of a stolen police car and laughing into the wind, the city’s colored lights gleaming behind him like jewels. He’s just a clown in black velvet, but he’s also some kind of masterpiece.
“The Dark Knight” is rated PG-13 (Parents strongly cautioned). Consistently violent but not bloody.
THE DARK KNIGHT
Opens on Friday nationwide.
Directed by Christopher Nolan; written by Jonathan Nolan and Christopher Nolan, based on a story by Christopher Nolan and David S. Goyer; Batman character created by Bob Kane; Batman and other characters from the DC comic books; director of photography, Wally Pfister; edited by Lee Smith; music by Hans Zimmer and James Newton Howard; production designer, Nathan Crowley; produced by Charles Roven, Emma Thomas and Christopher Nolan; released by Warner Brothers Pictures. Running time: 2 hours 32 minutes.
WITH: Christian Bale (Bruce Wayne/Batman), Michael Caine (Alfred), Heath Ledger (the Joker), Gary Oldman (James Gordon), Aaron Eckhart (Harvey Dent), Maggie Gyllenhaal (Rachel Dawes) and Morgan Freeman (Lucius Fox).
Christopher Nolan
A daily updated summary of the week in TV.
Gender: Male
Born: July 30, 1971
Birthplace: London, England
Nationality: British/American
Full Biography
From All Movie Guide: Noted for the innovative structure of both his noirish, cerebral debut film Following (1998) and its follow-up, the equally unconventional and heady Memento (2000), London-born filmmaker Christopher Nolan has shown a unique talent for creating involving films containing concepts based on abstract breaks with conventional behavior and idealism. Dubbed meta-noir by critics at a loss for words to describe its psychologically demanding, high-concept yet low-key journey into the mind of a man seeking revenge but lacking the ability to create new memories, Memento became the basis of lively discussion and debate among critics and audiences hungering for something thoughtful among a flurry of countless computer-generated pseudo-thrills and all-too-familiar gross-out comedies.
Born in 1970 and making 8 mm films from the age of seven, Nolan studied English Literature at University College London, graduating to 16 mm through borrowing equipment from the college's film department to make short films in his spare time. Influenced early on by such books as Graham Swift's Waterland, Nolan became intrigued with the concept of juggling parallel timelines. Noting that this concept was much more prevalent and common in print than on film, he began to expand on the idea, eventually combining it with his fascination with the concept of breaking down personal barriers after his London flat was burglarized and he curiously speculated on the burglar's impression of himself and his life. Taking the concept of an unemployed writer who becomes obsessed with learning about strangers by following them and breaking into their apartments to study their lives, Nolan crafted Following. Nominated for numerous film festival awards and winning (among others) the Black and White Award at the Slamdance film festival, he began to look forward to his next production; even going so far as to ask the audience to donate money towards the production of Memento at the 1999 Hong Kong Film Festival.
Inspired by a story his brother had written and told him about during a cross-country trip, Nolan began the laborious project of drafting a screenplay and gathering the resources for the film's production. Wanting to give the viewer an experience that was more than they could absorb in a single viewing, he spent the next few years refining the complexities of the screenplay to create what he felt would be an involving and demanding experience that audiences would want to revisit after their initial viewing.
Nolan's next project became a remake of the tense Norwegian thriller Insomnia (1997). As with Memento, Insomnia achieved an authentic noir feel while simultaneously offering a handful of excellent performances, this time from first-rate actors like Al Pacino, Martin Donovan, and Maura Tierney.
His 2005 Batman Begins was one of the few comic-book adaptations of the era to please both a large audience, hardcore fans of the comic, and film critics. Starring Christian Bale, Michael Caine, Morgan Freeman, and Liam Neeson, the movie was a worldwide smash at the box office, making Nolan one of the few young filmmakers to have popular and critical success in equal measure.
Before going to work on the inevitable sequel, The Dark Knight (co-scripted with his brother, Jonathan), Nolan directed The Prestige, a story about magicians also written by Jonathan Nolan, whose short story had inspired the script for Chris's breakout film Memento. For The Prestige, Nolan cast many of the same people he worked with in Batman Begins.
~ Jason Buchanan, All Movie Guide
Education
Location - Hertfordshire, England
Location - London, England
Major - English literature
Heath Ledger
Alternate Name: Heathcliff Andrew Ledger
Gender: Male
Born: April 4, 1979
Died: January 22, 2008
Birthplace: Perth, Australia
Nationality: Australian
Full Biography
From All Movie Guide: Already something of an established actor in his native Australia, Heath Ledger first came to the attention of American audiences in 1999 with his winning turn in the teen comedy 10 Things I Hate About You, playing the rebellious Patrick Verona in the update of The Taming of the Shrew.
Born in Perth, Western Australia on April 4, 1979, Ledger first became interested in acting while attending the all-boys Guilford Grammar School. He began his career performing onstage with the Guildford Theatre Company and was soon appearing in substantial roles on Australian television shows. The 1996 series Sweat featured him as a gay cyclist, while the following year's Roar cast him as a medieval Celtic prince--and also won him the beginnings of a fan base. After moving across the Pacific to Los Angeles, Ledger landed his lead role in 10 Things I Hate About You opposite Julia Stiles in 1999. The movie proved to be a summer hit, and it succeeded in introducing Ledger to a legion of new fans. That same year, he starred in Two Hands, an Australian action comedy that cast him as a Sydney teenager who finds himself in debt to an underworld kingpin, played by Bryan Brown. The film premiered at that year's Sundance Film Festival. Following a prominent role in Roland Emmerich's The Patriot (2000), Ledger brought Excalibur sensibilities into the new millenium with A Knight's Tale (2001). With its tradition shattering blend of modern slang and music balanced with the classic tale of jousting mayhem, A Knight's Tale served as an exciting star vehicle for the popular young actor. The young actor also garnered a fair amount of praise for his supporting role as a deeply depressed prison employee in the Oscar-winning film Monsters Ball (2001).
Though the film did not fare well critically or otherwise, Ledger nonetheless proved himself a versatile actor in The Four Feathers (2002), in which he starred as a cowardly officer-in-training who resigns from the British Army shortly before being shipped off to Sudan. In the same vein, though The Order (2003) was shunned by critics, Ledger was praised for his intense performance as a tortured, knowledge-seeking priest. Australia's Ned Kelly (2003) featured a then 24-year-old Heath in the title role of sixteen-year-old outlaw Ned Kelly, and placed him among a skilled cast including Six Feet Under star and fellow Australian Rachel Griffiths, the Oscar-winning Geoffrey Rush, Orlando Bloom, and Naomi Watts.
In 2005, Ledger captivated Hollywood with his sensitive turn as Ennis Del Mar in the gay-themed modern western Brokeback Mountain. Impressing audiences with his portrayal of the soft-spoken and tortured character struggling with his love for fellow cowboy Jack Twist (Jake Gyllenhaal), he went on to garner multiple awards for the role, including Best Actor wins from numerous film critics associations, as well as a coveted Oscar nomination.
Ledger was busy in 2005 following Brokeback, with lead roles in the period films Casanova and The Brothers Grimm, as well as a turn as a heroin-addicted husband in Candy. His own engagement to Brokeback costar Michelle Williams made headlines and produced a daughter in late 2005, though the two ended their relationship the following year. Ledger had completed his role as The Joker in The Dark Knight (due out in July 2008) and was filming Terry Gilliam's The Imaginarium of Dr. Parnassus when he was found dead in a New York City apartment building on January 22, 2008. ~ Rebecca Flint Marx, All Movie Guide
Education
Location - Guildford, Australia
Location - Gooseberry Hill, Australia
Christian Bale
Gender: Male
Born: January 30, 1974
Birthplace: Pembrokeshire, Wales
Nationality: Welsh
Full Biography
From All Movie Guide: Christian Bale is one of the few actors in Hollywood whose child stardom has successfully translated to steady and respectable adult employment. With a wistful handsomeness to complement his impressive, sometimes underrated talent, Bale has become something of a quiet sensation, netting choice roles in a number of unconventional, critically acclaimed films.
Born January 30, 1974, in Pembrokeshire, Wales, Bale was raised in England, Portugal, and the U.S. The product of a creative family (his mother was a dancer and both of his grandfathers were part-time actors), Bale made his stage debut at the age of ten, playing opposite British comedian Rowan Atkinson in The Nerd. In 1986, he debuted on television as Alexis in the miniseries Anastasia: The Mystery of Anna. His film debut came the following year with the lead role in Steven Spielberg's adaptation of J.G. Ballard's Empire of the Sun. Although the film met with very mixed reviews, Bale received almost ubiquitous praise for his portrayal of a young boy interned in a Japanese prison camp during World War II. Following a starring role in a Swedish film, Mio min Mio, Bale next appeared in Kenneth Branagh's celebrated 1988 adaptation of Henry V and in 1990, starred opposite Charlton Heston in a highly-regarded cable adaptation of Treasure Island.
In 1992, Bale appeared in his first adult role in the musical Newsies, in which he could be seen singing, dancing, and sporting a fairly convincing American accent. His next film, Swing Kids (1993), also featured him dancing, this time alongside Robert Sean Leonard in wartime Germany. Although the film failed to impress most critics, it succeeded in making a favorable impact on teenage girls and swing afficionados everywhere. The following year, Bale appeared as Laurie in Gillian Armstrong's acclaimed adaptation of Little Women and then went on to lend his voice to Disney's animated film Pocahontas, which proved to be one of 1995's biggest box-office draws. The actor next appeared in The Secret Agent (1996), which, despite a strong cast including Gérard Depardieu, Bob Hoskins, and Patricia Arquette, was widely unseen in the U.S. After a tragically small role in the same year's The Portrait of a Lady, Bale was finally given the opportunity to step into the limelight with the 1997 film Metroland, an adaptation of Julian Barnes' novel. Starring alongside Emily Watson, Bale played a young husband and father wallowing in discontented nostalgia and received overwhelmingly positive notices for his thoughtful, complex portrayal. The film was not released in the U.S. until the following year, when he also had lead roles in Todd Haynes' eagerly anticipated Velvet Goldmine and All the Little Animals, which premiered at the Cannes Film Festival to strong reviews. The following year, Bale starred alongside Kevin Kline, Michelle Pfeiffer, and Rupert Everett in a lavish adaptation of A Midsummer Night's Dream. In addition to the exposure he (literally) received in his role as Demetrius, Bale got a different kind of recognition for his part in the well-documented controversy surrounding the casting of Mary Harron's adaptation of Bret Easton Ellis' American Psycho. After winning and then losing the film's lead role to Leonardo DiCaprio, Bale then won it back, prompting a wave of media coverage and at least one publication's decision to describe him as everyone's favorite underdog. It was a title that, deserved or not, seemed to fit an actor who, beneath all of the hyperbole and hype, was one of Hollywood's most engaging and underrated treasures. As if to stay in keeping with his below-radar persona, the prolific and kinetic advertising campaign for the humans versus dragons opus Reign of Fire (2002) found Bale curiously overshadowed by a chrome-domed Matthew McConaughey despite being first billed as the film's star. And though his forst foray into sci-fi action proved only a moderate success at the box office after receiving mixed critical reception, Bale followed-up with the dystopian thriller Equilibrium before returning to the present day with the low-key sexual comedy drama Laurel Canyon (2002). Though that film too would quickly disappear from the theaters, audiences could rest assured that they would be seeing plenty more of the handsome star in Memento director Christopher Nolan's latest entry in the Batman film series. That film was both a critical and a box office success. The collaboration was so satisfying that, before going to work together on the sequel, they joined forces for The Prestige alongside Hugh Jackman, Michael Caine, and Scarlett Johansson. He also appeared in Harsh Times, a coming of age drama co-starring Eva Longoria. ~ Rebecca Flint Marx, All Movie Guide
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