Holy Multi-Genre Batman!
By Matthew J.
In physics we are taught about the light spectrum. It is a continuum that goes from all colors at once (white), to the absence of color all together (black). In Christopher Nolans The Dark Knight the screenplay tells us that this idea cant be related to the society we live in. In the follow up to 2005s highly successful Batman Begins, the more experienced Bruce Wayne (Christian Bale) is still on his quest to rid Gotham City of corruption and criminal activity. Wayne believes that he, along with the charismatic new DA Harvey Dent (Aaron Eckhart), can shine light on the darkness that has overcome Gotham. Seems easy enough as long as he can be a step ahead of the mob in terms of the weaponry it will take to win the battle. And trust me he is way ahead of them.
Enter the Joker who challenges the seemingly easy equation of smoking out the mob. This incarnation of Batmans most formidable foe is unlike his predecessors in that he is in the mix solely for the thrill of the game. He doesnt care about the money or the power that comes from being a villain. He is here to show us that good vs. evil isnt so clean cut. There are moments in this film where morality is questioned within the criminal fraternity and when the forces of good tend to go beyond bending the rules, and commit acts that good guys arent supposed to do.
Nolan and his brother Jonathan have written a script that shows us that it is near impossible to be at either the white or the black end of the spectrum. Some of us are red, while others are blue, and in the Jokers case, green. Thus we have an amazing cast that provides various color to different characters who remind us that life is more complex than black and white. As usual Michael Caine and Morgan Freeman provide exceptional performances as Alfred Pennyworth and Lucius Fox respectively. Both characters have to face tough personal decisions that will affect Waynes storyline. Gary Oldman returns with a more well-rounded character than in Begins. His portrayal of head of Major Crime Unit Jim Gordon is the most thoughtful and human character in the film.
But it doesnt stop there. Some colors are absent from the spectrum and are created by mixtures of multiple colors. Here we have Wayne/Batman and Dent who see each other as admirable symbols. The trouble comes when the Joker confronts theyre beliefs and makes them face dilemmas that could threaten the standards that they have set for themselves. The focal point is Dent who, really not until the end do we notice, the Joker and Batman are competing for. After countless games the Joker makes Gordon, Dent, and Batman play, it would be easy for anyone to give up. This triumvirate, however, doesnt get a chance to give up even if they wanted to. The Joker endlessly has something up his sleeve until one of these men is driven to the edge of his sanity.
The film is driven by the performance of the late Heath Ledger as the Joker. Many have cited it as the best Joker, even topping Jack Nicholsons in Tim Burtons original version. I believe that Ledger draws more similarities to Nicholsons performance than people might think. Critics have focused on the deranged, sadistic side that Ledger portrays. If you look, however, at the comic relief that Ledger provides, it bares resemblance to a Nicholson-esque performance. He is a true villain who finds just as many problems with organized crime as he does with crime fighters such as Batman, if not more. Ledger is so buried in this character that you cant help wonder what might have been. And those who have been throwing the word Oscar around may not be far off.
The film itself is a mixture of colors on the film genre spectrum. The Batman universe is and will always be included in the superhero genre. What we are beginning to see, though, is that directors are breaking free of this category and expanding into others. Their films are becoming more about character studys than they are about visual effects or simply planning the next sequel. There were times throughout TDK that I felt the suspense that one might get from a horror film. The Jokers presence is so eerie that you cant help feel that Freddy Krueger or Michael Myers might pop out at any time.
Of course we cant ignore the gangster mentality that the film portrays. Eric Roberts is the ringleader of a 21st century type of mob that becomes a concern for both Batman and the Joker. Comparisons have been made to Heat and The Godfather II. While this isnt a Gangster movie, it is structured similarly as one and certainly plays to the same type of strengths.
Finally, Nolan has brought Batman back to what he was originally intended for: Film Noir. The Pulp Fiction that Batman was created in is set up perfectly here. Batman has gone back to his roots by utilizing the one true superpower he has: detective work. As Bruce Wayne, he takes the time to investigate clues and evidence, which some might argue, takes more skill than fighting off untrained Joker goons. The scene that best demonstrates Nolans neo-Film Noir is one in which the Joker and Batman finally get a face-to-face discussion and the Joker reveals that it is not about destroying Batman, but preserving him. Because without him, the Joker himself would not exist.
While I dont recommend this for children under 14, it is definitely the must-see film event of the year. Nolan has a style that perfectly demonstrates the pros and cons of the human spirit. And he does ever so subtly. As in his previous installment, he creates villains in which we can learn from just as much as the hero. And not to discredit Batman himself. We learn why in fact he is labled the Dark Knight: He is a hero
because he isnt a hero. The film displays an ethos that few superhero movies dare to touch.
This also might be the best looking movie of the year. While Im sure it will look fine in conventional theaters, you should really do yourself the favor of buying your IMAX tickets (once showtimes are again available at IMAX theaters). The action sequences in TDK are state of the art and in some instances revolutionary in motion picture history. Say what you want about the Sonar sequences. If this bothers you than you might be focusing on the wrong aspects of what this film is trying to accomplish. Nolan has opened the doors to a new type of realism and for sake of the future of the film industry, I hope it is here to stay.