A sound like a batgloved fist smacking into a cupped palm is what this film delivers: only deafeningly amplified and clarified with crisp, digital precision. It is the sound of all other recent super-hero movies getting their asses well and truly kicked. The Dark Knight is strange, dark, grandiose and mad; it is overlong and over-hyped but hugely entertaining. In a simple, physical sense it really is huge, with cityscape sequences filmed on Imax technology, that demand to be seen on the vast Imax screen. Watching the first dizzying, vertiginous overhead shot of the glittering skyscrapers and minuscule streets, I literally forgot to breathe for a second or two, and found myself teetering forward on my seat - timidly, I had chosen one high up at the very back of the auditorium - as if about to topple into the illusory void.
The Dark Knight is the continuation of British director Christopher Nolan's reinvention of the Batman story and it takes the story up to his primal confrontation with the Joker, the villain who among the wrongdoer-gallery ranged against Batman is first among equals: here leading an unspeakable cabal of wiseguys. The caped crusader himself (although this camp designation is now not used) is again played by Christian Bale, clanking around in a kind of titanium-lite exoskeleton and making use of a heavy-duty Batmobile so macho and military-looking it makes a Humvee look like the kind of Prius driven by Gok Wan. Otherwise, he bops around town on a brutal motorbike with wheels the size of rubber boulders, cape fluttering in the slipstream.
The Joker is played, tremendously, by the late Heath Ledger. His great grin, though enhanced by rouge, has evidently been caused by two horrid slash-scars to the corners of his mouth, and his whiteface makeup is always cracking and peeling off, perhaps due to the dried remnants of tears, making him look like some self-hating Pagliaccio of crime, sweating backstage after the latest awful spectacular. Ledger has a weird collection of tics and twitches, kinks and quirks; his tongue darts, lizard-like, around his mouth, a little like Frankie Howerd, or perhaps Graham Kerr, the galloping gourmet of 1970s television.
Batman is still a reasonably novel figure in Gotham city as the action begins. They still refer to this dubious vigilante with a retro-sounding definite article: he is "the Batman". And there is a new, conventional crime fighter in town: the handsome, dashing district attorney Harvey Dent, played by Aaron Eckhart, a man who believes that the rule of law has to be upheld by a democratically accountable person, not some shadowy figure of the night. To the chagrin of Batman and his far-from-mild-mannered alter ego, billionaire Bruce Wayne, Harvey is dating the love of Batman's life: legal eagle Rachel Dawes, played by Maggie Gyllenhaal. Gary Oldman plays Lt Gordon, before his historic promotion to "Commissioner" status. Michael Caine and Morgan Freeman provide droll performances as Wayne's ancillary staff, his butler Alfred and his Q-like costume designer, Lucius Fox.
There are some really exhilarating set-pieces, especially the one that kickstarts the proceedings: Nolan starts off with a high-tension, high-anxiety bank raid, carried out by a dodgy crew all in Joker masks, all whispering among themselves about the crazy guy in clown makeup who hired them to do the job. Why isn't he there personally? Wait - is he there personally? With some big masculine face-offs, and a high-speed convoy scene, Nolan appears to have imbibed the influence of Michael Mann, and a sequence in Hong Kong has a touch of the Infernal Affairs movies. Various debates about Jack Bauer/24-type torture methods appear to show modern Hollywood discovering, if not a conscience exactly, then a certain self-consciousness. But the film is better at pure action - particularly one awe-inspiring chase scene Nolan later contrives between Batman on his bike and the Joker at the wheel of a enormous truck. The conclusion to this sequence had the audience in a semi-standing crouch of disbelief.
Perhaps the most bizarre moment comes when the Joker has evidently abducted some unfortunate from the local psychiatric hospital to "impersonate" Batman's lost love: this man does appear to resemble Maggie Gyllenhaal: a joke of considerable malice, sophistication and lack of taste.
Nolan has made an enormously profitable smash with the Batman franchise, but at the risk of sounding priggish, I can't help thinking it may be a bit of a career blind-alley for the talented director who gave us brilliant and disquieting movies like Following (1998) and Memento (2000), whose inventions still linger in the mind. The Dark Knight's massive box-office success has surely given Nolan the means to write his own cheque, and in addition something sweeter still - clout. I hope that he will use it to cultivate movies that are smaller and more manoeuvrable than that great armoured Batmobile.
The Dark Knight is the continuation of British director Christopher Nolan's reinvention of the Batman story and it takes the story up to his primal confrontation with the Joker, the villain who among the wrongdoer-gallery ranged against Batman is first among equals: here leading an unspeakable cabal of wiseguys. The caped crusader himself (although this camp designation is now not used) is again played by Christian Bale, clanking around in a kind of titanium-lite exoskeleton and making use of a heavy-duty Batmobile so macho and military-looking it makes a Humvee look like the kind of Prius driven by Gok Wan. Otherwise, he bops around town on a brutal motorbike with wheels the size of rubber boulders, cape fluttering in the slipstream.
The Joker is played, tremendously, by the late Heath Ledger. His great grin, though enhanced by rouge, has evidently been caused by two horrid slash-scars to the corners of his mouth, and his whiteface makeup is always cracking and peeling off, perhaps due to the dried remnants of tears, making him look like some self-hating Pagliaccio of crime, sweating backstage after the latest awful spectacular. Ledger has a weird collection of tics and twitches, kinks and quirks; his tongue darts, lizard-like, around his mouth, a little like Frankie Howerd, or perhaps Graham Kerr, the galloping gourmet of 1970s television.
Batman is still a reasonably novel figure in Gotham city as the action begins. They still refer to this dubious vigilante with a retro-sounding definite article: he is "the Batman". And there is a new, conventional crime fighter in town: the handsome, dashing district attorney Harvey Dent, played by Aaron Eckhart, a man who believes that the rule of law has to be upheld by a democratically accountable person, not some shadowy figure of the night. To the chagrin of Batman and his far-from-mild-mannered alter ego, billionaire Bruce Wayne, Harvey is dating the love of Batman's life: legal eagle Rachel Dawes, played by Maggie Gyllenhaal. Gary Oldman plays Lt Gordon, before his historic promotion to "Commissioner" status. Michael Caine and Morgan Freeman provide droll performances as Wayne's ancillary staff, his butler Alfred and his Q-like costume designer, Lucius Fox.
There are some really exhilarating set-pieces, especially the one that kickstarts the proceedings: Nolan starts off with a high-tension, high-anxiety bank raid, carried out by a dodgy crew all in Joker masks, all whispering among themselves about the crazy guy in clown makeup who hired them to do the job. Why isn't he there personally? Wait - is he there personally? With some big masculine face-offs, and a high-speed convoy scene, Nolan appears to have imbibed the influence of Michael Mann, and a sequence in Hong Kong has a touch of the Infernal Affairs movies. Various debates about Jack Bauer/24-type torture methods appear to show modern Hollywood discovering, if not a conscience exactly, then a certain self-consciousness. But the film is better at pure action - particularly one awe-inspiring chase scene Nolan later contrives between Batman on his bike and the Joker at the wheel of a enormous truck. The conclusion to this sequence had the audience in a semi-standing crouch of disbelief.
Perhaps the most bizarre moment comes when the Joker has evidently abducted some unfortunate from the local psychiatric hospital to "impersonate" Batman's lost love: this man does appear to resemble Maggie Gyllenhaal: a joke of considerable malice, sophistication and lack of taste.
Nolan has made an enormously profitable smash with the Batman franchise, but at the risk of sounding priggish, I can't help thinking it may be a bit of a career blind-alley for the talented director who gave us brilliant and disquieting movies like Following (1998) and Memento (2000), whose inventions still linger in the mind. The Dark Knight's massive box-office success has surely given Nolan the means to write his own cheque, and in addition something sweeter still - clout. I hope that he will use it to cultivate movies that are smaller and more manoeuvrable than that great armoured Batmobile.
Tell Your Friends