Yes, but that doesn't mean it strays from Nolan's visual aesthetic. Nolan's visual aesthetic doesn't mean that no images can be close to the comic, just that they have to fit a certain tonality. And the Joker's design in THE DARK KNIGHT certainly fits.
Eh, I don't agree. It would if his outfit was cartoony, like many comic book elements. In that way, it wouldn't fit with the tactile sense of Nolan's universe. But it doesn't.
I have to claim to not entirely understand how you are differentiating "visual aesthetic" and "tonality". I understand tonality to be about the relationship between each element and every other. The general tone of something. My possible misunderstanding is that I define "visual aesthetic" in pretty much the same way.
Nolan is within his right to change gears but I don't think his words being referenced are being understood as he intended. It would be a mistake he is far too smart to encounter. The story is meant to have continuity and that relies on much more than just having Bale return as Batman every time.
I say again that the tone of Joker's look is unlike anything previously established in Begins. Scarecrow in the comics is drawn every bit as different from normal people as the Joker. Neither look even
remotely normal. If a comic character, who's look was just as unique as the joker, was distilled down to his mask in Begins then why would we expect the comic joker to not be equally distilled? Both having equally unique appearances in the comic, getting drastically different translations to film. I think he or the studio is pandering, and it looks weak.
Visually, BB was a very well crafted piece of film that balanced iconic comic snapshots with moving bits of reality. Batman standing on the corner spire of the high rise with an impossibly long cape. A cape seemingly used only that once for that scene to accomplish that smooth transition from building to spire to Dark Knight, one silhouette, topped with the stern profile that everyone knows. The gargoyle watching over his city. Keeping the evil at bay. The music builds as the chopper cam comes around him showing first the city lights behind him and then the great art deco architecture behind him. Its non specific to a comic yet instantly recognizable as essentially Batman.
Along with these great comic-like snapshots the human interaction of film allows for much subtler demonstrations of character than can be displayed in drawings. So much more information is offered in just a brief few seconds of film. The characterization in Nolan's universe relies on the performances of the actors and less on the frozen visual elements comics use to hold the excitement on the page. Scarecrow didn't need a scary weapon, or a floppy pointed hat, or a dynamically torn shirt, or strategically patched pants, or some crow perched on his shoulder. They look great on the page or in a poster. I welcome them there. Within that frame we
want to see something to fuel the mind, what the artists can lead us to imagine. The scarecrow as shown by Nolan is a warped Psychologist who tells us in measured tones how he enjoys the power of the mind over the body. He is never any great visual threat. The mask, reminiscent of a scarecrow, is his "jungian archetype" of choice, upon which his victims project their own crippling fears.
Film, just by its nature is based in reality. It is a document of a sort of existence. We see the actor and if everyone does their job well we interact with the performance the same as we would with any person on the street. We suspend disbelief and accept it as reality. In BB, all the visual information the comic uses to keep
that media exciting is distilled in favor of the performance, utilizing the art of
this media. Trying to shoehorn in the tools of an altogether different form of visual communication now creates problems.
My fear is that with this aesthetic of the essentials so well established in Begins the Joker's off the page look will take me out of a performance that by all indications already exhibits the entirely unique nature of his character.
ETA: specifics of what looks cartoony:
-Narrow pants left short. The short pant legsbeing an old vaudeville tool used to make the clown look more comic. Cosmo Kramer used the same technique. :P
-the socks. while objectively hilarious, they are artistically problematic
-the elongated "poor man's" shoes
-purple gloves
-the green vest
-the ridiculously patterned shirt
-THAT purple coat. Some purple I think was necessary. Everything purple, no. That is out of place. That coat, in that purple, combined with the other items, looks like it could have come from Cesar Romero's reject pile.
-I'm waiting for the pic that shows an orangeish tie. (sarcasm)
Honestly, when they showed the forcibly altered smile with rumors of it being caused by Batman I thought they were 80% there. So much potential.
I have no idea how you guys post such short responses.