Review: The Dark Knight

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Review: The Dark Knight

Often when critiquing a film, it is ostensibly hard to sidestep the external hubbub that builds around summer blockbusters. With The Dark Knight emerging just months after the tragic passing of the late Heath Ledger, the film will only ever be mentioned in the same breath as the erstwhile star. This, however, is no criticism. More on his performance later.

2008 has not gone begging for summer tent-poles. The likes of Robert Downey Jr. as Iron Man, and Edward Norton as The Incredible Hulk have casually propped it on their capacious shoulders. However, both of these have spliced the critics down the middle, and have left audiences somewhat lukewarm. Cue for a Caped Crusader to enter stage left then, no?

Christopher Nolan-as many would maintain-has not once put a foot wrong throughout his thoughtful career. Memento, adapted from a novel written by his brother Jonathan, who is on script writing duties here, was a groundbreaking hit, whilst Insomnia and The Prestige were swept with praise. Then came his fresh outlook on one of DC Comic’s most treasured creations with Batman Begins. Though, he was not without his critics. Die-hard fans questioned his ability to helm such a project, with his filmography and experience rooted in intimate arthouse. Nolan hushed the doubters with a film that was universally treasured by all, bringing together a sensational blend of tour-de-force action, with unquestionable political allegory. With not a whiff of camp, tight-shorted fodder in sight, once seen in the original 60’s TV series, Nolan had tuned into the darkest side of the dark knight. Unsurprisingly then, no less can be said of his much anticipated follow up.
Thankfully, Nolan has not dropped the ball with this installment, cranking up the action set pieces to 10, and shipping in a monumental ensemble cast. Picking up minutes after the playing card teaser, the action starts minutes into the running time, and doesn’t let up for the better part of 2 hours. Action sequences that traverse the glove, taking in Hong Kong to, er, Gotham City will please the thrill seekers. One in particular freeway sequence makes anything you saw in Transformers last year look like two teddy bears playfully wrestling in a meadow.

The response to Ledger’s interpretation of The Joker can be contained no longer: it is no less than sensational. We can only be thankful that Ledger engrossed himself more than ever into the development and interpretation of this character, as it acts a beautiful tribute to his premature career and memory. He sizzles with charisma in every frame that is graced with his presence, managing to be both despicably callous and yet strangely witty and charming. The fact that he is a villain that is not motivated by anything so puerile as money or vengeance only makes him even more invigorating to watch. This is not a film that lends itself to the origins of The Joker; he emerges fully formed and without any ulterior motive or hidden agenda. He simply revels in watching chaos erupt around him for pure twisted kicks. His tongue waggling like a rabid dog, Ledger plays him as something that is utterly sub-human. The citizens of Gotham, along with the preying audiences, are never meant to understand this villain: he is not given a twisted moral code that is usually shoehorned into many villainous roles. He simply is.
However, he is dubbed a ‘terrorist’ on more than one occasion, which seemingly reeks of post 9/11 unsubtle subtext, as does a lot in the film. Harvey Dent/Two Face, played convincingly enough by Aaron Eckhart, can easily be likened to one particular political figure: a knight in shining armor riding into to save the people after years of political turmoil…Barack Obama anyone?
It says a lot about the film that is not our caped hero that we see first, but the oddly jarring grin of the anti-hero. Nolan, and indeed Ledger, has achieved/slipped up in exactly the same area Burton and Nicholson managed to do nearly 20 years ago in the original film adaptation. The Joker, ironically suited to his character, steals the show, with Ledger putting in a considerably more alluring and thrilling turn than the main man himself. It almost pains me to say it, but every minute Bale is not in his infamous suit, whizzing around on the coolest bike you will see all year, he is taking up frames that can be filled by that of The Joker. Every second he is not on the screen, you will crave his presence just so you can stare into those mad eyes and watch him reek havoc. With the blogosphere near collapsing under the weight of expectation about Ledger’s role, aside from the publicity that arose from his death, it was inevitable Bale only needed to phone in his performance here. This is a crying, and yet thrilling, shame. But that doesn’t mean to say he does. Bale, with his smoldering looks on screen, puts in a very credible performance, and is still the best Batman we have seen since the inception of the characters’ many famous faces.
As for the rest of the cast, it goes without saying that Michael Caine and Morgan Freeman, playing Bruce Wayne’s diligent employees, turn in sterling performances, as does Maggie Gyllenhaal, who took up the reigns as Wayne’s squeeze after Katie Holmes so thoughtlessly dropped them.
Now for the very slight grumble. You may be surprised to find that Batman has returned, but with a big red censor sticker over him. The film has been rated as a 12A. It may be harsh to deem this as a criticism that can be leveled at the filmmaker, which it wouldn’t be if audiences could be assured the mighty studio fat cats and the marketing execs did not have their greasy fingerprints over this slight let down. It is not in Nolan’s image to be cajoled into making a film he does not want to make, and lets hope his hand was not forced into softening the edges and child-proofing his career defining picture. Even though the film has emerged an incredible cinematic success, it may be closer to perfect if it was bumped to a 15 and a little claret was spilled here and there.
Aside from this somewhat minor oversight, the film remains in tact as Nolan’s best piece of work to date. He has cemented his place as one of the best directors working today, proving he can thrill popcorn audiences with intelligent, engrossing cinema whilst sending cash registers ringing. Much has been said of the slightly flabby running time, but those who say that are missing the point. Every minute you are in the hands of this true auteur, and every second you stare wide-eyed at Ledger’s Joker is a gift. It may be 152 minutes of your life, but you won’t be getting more for your ticket price anywhere else for a long time to come.

Adam Jelley