I waited until after the opening weekend lines died down and finally saw
The Dark Knight. Maybe Christopher Nolan--who hasn't yet decided if he's going to make a third Batman film--should just quit while he's ahead. I don't know how he can surpass what he's achieved with the morally ambiguous and politically charged yet electrifying
Dark Knight.
Third installments often mark the nadir of a film series (
Return of the Jedi,
The Godfather Part III,
X-Men: The Last Stand,
Spider-Man 3, which transformed Tobey Maguire into an emo lesbian
Dancing with the Stars contestant, and fifthly, the little-known
Debbie Does Benji). Perhaps Nolan's uncertainty about agreeing to write and direct a third movie stems from being burned as a moviegoer by so many franchises that have succumbed to the Law of Diminishing Returns--including once upon a time, Batman itself, before Nolan revitalized the series.
Of all the summer 2008 blockbusters, I looked forward to
The Dark Knight the most because I'm a longtime Batman fan. The character always appealed to me more than Superman because he's a hero who looks like a villain, and sometimes he finds himself becoming the villain, like in
The Dark Knight. I've read the Batman comics on and off, I liked the Tim Burton films when I was a kid (these days, I don't think parts of Burton's Batman films have aged very well, particularly elements of the 1989
Batman) and I'm a huge fan of both
Batman: The Animated Series and the Nolan version of the franchise. I found Joel Schumacher's
Batman Forever to be so juvenile--especially in its portrayal of Two-Face, who's an even more complicated enemy than the Joker because he teeters back and forth between good and evil, something that
Batman Forever got wrong--that I refused to see
Batman & Robin, and I still refuse to watch a single minute of that 1997 piece of Batguano.
Nolan's refusal to approach the likes of Two-Face and the Joker as cartoonish
a la Schumacher--he restored the menacing qualities that these villains had in the post-'60s comics and the '90s animated series--may be one of the reasons why
The Dark Knight had a record-shattering opening weekend. The film is quite lengthy for a summer blockbuster, but nobody in the afternoon audience I saw it with ever got restless or bored. I don't go to movie theaters as often as I used to anymore because I'm frustrated with other moviegoers' exceedingly stupid behavior--talking on cell phones, running up and down the aisles like a chimp on speed, bringing their babies with them--but except for one occasionally testy infant, everyone in this more polite-than-usual afternoon audience kept their mouths shut during the entire film. They were completely captivated by this differently toned Batman and the remarkable performances of the ensemble (particularly by Aaron Eckhart, Gary Oldman, an uncredited
Nicky Katt in a great small part, the late Heath Ledger in his penultimate performance and Christian Bale, whose often derided Batrasp sounds more like Richard Moll's
B:TAS voice for Two-Face than the less gravelly voice that we're accustomed to hearing come out of Batman's mouth). It's the same kind of captivation I feel when I watch a really good Michael Mann flick.
Speaking of Mann, his work influenced Nolan during this Batman installment. (I wonder if Nolan also took some cues from
Gotham Central. The Joker's killing spree and the interrogation room scenes are reminiscent of
Gotham Central's "Soft Targets" arc, which had the Joker terrorizing Gotham City with sniper attacks.) Before he made
Batman Begins, Nolan reportedly screened
Blade Runner for his crew and told them, "This is how we're going to make Batman." In
The Dark Knight, Nolan turned to
Heat as his cinematic model, and it's evident in the forensics sequences (it's awesome to see Batman act more like a detective again) and the major set pieces, particularly the opening bank heist, which even includes a cameo by
Heat supporting player William Fichtner, and the thrilling truck/SWAT van/Tumbler-turned-Batpod chase. The elegantly staged action sequences are an improvement over the ones in
Batman Begins, which were criticized for being poorly shot and choppily edited, although I think Nolan was trying to capture the disorientation a criminal must feel when his ass is being handed to him by a swiftly moving figure he can barely see in the dark--just not quite as well as Nolan intended. Even though I didn't see
The Dark Knight in IMAX, I was awed by cinematographer Wally Pfister's opening aerial footage of the Joker's accomplices proceeding with their heist. It looks spectacular even in standard 35mm.
The bank heist marks one of the few times we see sunlight in a Batman film, one of several touches that place Gotham in a more grounded reality and distinguish Nolan's Batman incarnation from previous screen incarnations. (Burton refused to have the sun appear during his rather backlotty and stagebound version of Batman. When he did shoot a scene in daylight, Burton chose to do it during a cloudy day.)
Another intriguing Nolan touch is the jettisoning of the more fantastical elements of Batman's adversaries, Scarecrow fear gas aside. I doubt the very sci-fi Poison Ivy would exist in Nolan's universe. (I'm not sure which villains should appear in the threequel, but I'd like to see Bale face off against Peter Sarsgaard--who happens to be married to Bale's
Dark Knight co-star Maggie Gyllenhaal--or Parker Posey, not because of her performance in
Superman Returns but her performances in
Dazed and Confused,
Henry Fool and
Fay Grim.) A chick who can control plants with her mind just isn't as disturbing or formidable as Nolan and Ledger's interpretation of the Joker, who's portrayed here as less of a clown and fame whore
a la Jack Nicholson and more of a terrorist who's attracted to anarchy like a dog is attracted to car windows it can stick its head through--to reference a key
Dark Knight image of this creepy criminal without a code.
It's been reported that Ledger wasn't familiar with the Batman comics and graphic novels before he signed on to
The Dark Knight. He based his Joker on
the Droogs and Sid Vicious and downplayed the character's clownish persona. Those were interesting choices for his standout performance, which is heightened by some of the most intense and atonal music Hans Zimmer has ever written (as soon as I receive the
Dark Knight score CD by Zimmer and James Newton Howard, I'll add some of its tracks to "Assorted Fistful" rotation on the Fistful of Soundtracks channel). It's the cleverest combo of star performance and original film score that I've seen on the big screen in a while: Ledger went punk for the Joker, as did Zimmer, whose punk-influenced Joker themes have been described by the
L.A. Times as "an orchestral interpretation of a something created by Trent Reznor's Nine Inch Nails."
The Dark Knight is the first great summer movie since
Do the Right Thing that's made me angry. How often can you say that about a piece of summertime entertainment? Nolan's film left me feeling pissed off about two things: the fact that there are no easy answers in this post-9/11 world--not since
Justice League Unlimited's great Justice Lords and Cadmus storylines has a post-9/11 superhero show or film dared to bring its protagonists' tactics into question--and the fact that we won't be able to see any more mesmerizing performances from Ledger.
The other day, I happened to catch a YouTube clip of Alicia's appearance in one of The Cosby Show's most famous episodes, "Slumber Party" (the clip was removed right after I watched it). During the "bucking horse" game sequence in which the kids took turns riding Cosby's leg like a horse (whoever stayed on the saddle the longest was the winner), Alicia was the little girl with the boyish-looking haircut--the one whom Cosby jokingly called "my wife," in what I assume was an in-joke about her Camille-like hairdo. It's no surprise that Alicia the skilled pianist was the most coordinated one out of all those kids--she didn't fall off Cosby's leg and kicked those other kids' asses at "bucking horse." 
