You might have heard of this, it was a little project that Warners put out a few years ago, having been reasonably successful (over $1 billion in worldwide box office alone), it’s got itself a sequel this year. True to form after promising a write-up on this as part of my ancient Films of 2008 entry I’ve finally managed to fulfil this promise a mere four years later, punctuality evidently being my strong point. Why the delay? Well, initially I wanted to give it yet another look after the two cinema visits and a couple of Blu-Ray revisions, but after the rabid exposure the film and its potential sequel engendered over the subsequent couple of years I frankly got a little sick of the movie (although that’s not the films fault), there must have been some tangential news story in the on-line press almost every day during the first couple of quarters of 2009 so I really wanted to go away, take a breather, then come back to the movie fresh and attempt to explain why I think The Dark Knight really touched a nerve with not only the rabid fan-boys who went to see it four, five, even six times at the cinema (which of course explains some of that box office) but also the appeal to the more mainstream punters who visit the cinema maybe once or twice a year. Of course the interest and speculation has continued to swirl unabated around what we know as The Dark Knight Rises over the intervening few years, as its 20th July release date inexorably marches forward it’s finally time to step up the plate and push some thoughts out there prior to the release of the historically difficult third movie in the trilogy, be warned as this may very well be the most absurd, lengthy, fanboy inspired nonsense I’ve ever fabricated so I’m preemptively blaming the pain-killers. It’s an obvious allusion I know but I’d argue that The Dark Knight is the quintessential film of the last decade, with its domineering leitmotifs of entropy, corruption, instability and insanity it is the primary exemplar in reflecting and illustrating many of the crumbling structures that are under assault by a panoply of threats – fear, anguish, destruction, hypocrisy, paranoia – that have perverted the citadels of the West as their hegemonic stranglehold exigently slips away, as the moral lines are increasingly obscured as independent, ideological driven groups fight for their interests by violating the margins of the status quo and established, increasingly redundant and rejected political methods are superseded by direct action, and it’s also got some kick-ass action sequences so where better to start than with the introduction of the films hero, and I ain’t talking about some nocturnal psychopathic vigilante;
Click on the top left link to catch the final moments of that opening, alas I couldn’t find it in its entirety. Firstly, this obviously serves as the second part of a trilogy with the opening blue flame hued bat symbol – we’ll seeing that more of that temperature in the film of course – serving as a thematic and design continuation of the opening of Batman Begins and its auburn hues which both dispense with any titles or credits, both serve as semiotic glimpses of the tale that follows and its cinematographic palettes. An expansive helicopter mounted dolly penetrates the world of the film, the modern urban environment, its briefly tranquil atmosphere shattered as the goons rupture the status quo as they prepare their aerial assault that is immediately reinforced with a cunning character introduction, an empty mask shown in silhouette with the unidentified character turned away from the camera lens, a presage of the fruitless search for identity, reason and morality that gravitate around the films real protagonist – The Joker – whom subliminally mocks the film’s title. He is a void, a vessel for the audiences fears, a mysterious agent of chaos and entropy with a constantly shifting origin and history (does he even know his own back-story?) but I’ll delve fully into that in part two of this brief series. A meticulously planned robbery ensues, cut to the tempo of Hans Zimmer’s shrill and stretched score, a criminal inauguration which simultaneously references The Killing (there, didn’t take long for the Kubrick mention did it?) with similar nods to Heat via the casting of William Fichtner, signaling Nolan’s impeccable influences and inspirations. I love the nonchalant shooting of the bus driver and the grenades imposed on the trembling bank customers, we’re clearly dealing with a meticulously prepared and efficient psychotic (unusual for a PG13 movie for obvious reasons) whom immediately obliterates the scenery chewing antics of Nicholson, reinforced with the callous execution of his comrades and the grenade smoke bomb gag which acquaints us with this clown prince of crimes nebulous attitude to life and death. This merciful introduction is inverted with a shock a few minutes later in which writers Jonathan Nolan and David S. Goyer perfectly pitch a moment of terrible violence with splenetic humor, a grim yin-yang that reverberates throughout the film, both times I saw it with an audience they went fucking wild and that’s cinema right there, the shared experience that nothing can equal. So the films temperature and temperament is independently established away from the usual carnage saturated action-film context, it’s afferent inductions functioning within the narrative, not being a function of the narrative, not merely an excuse for kinetic deviations that leapfrog the recital to the next ballistic set-piece – in The Dark Knight they are intrinsic designs and conceptions that embed the characters psychology and environment – the oppidan and urban, the criminally lunatic, the dispassionately violent – at the core of the films anfractuous ambitions.
After this bravura prologue the film settles into its rhythm and the major plot lines emerge, Harvey Dent is introduced as the passive reflection of Batman, the principled idealist who is committed to make a difference, battling the crime and corruption of Gotham city within the confines of the system rather than following an individual, morally suspect, unhinged nocturnal crusade unfettered by such ridiculous notions as civil rights, presumption of innocence and trial by jury – in a word, Guantanamo. The political praxis is set, the City Hall and legislature machinations are placed in dichotomy with the criminal syndicate operations, as Gotham City itself is established as a living entity with enough sparse sociological dimensions to serve the plot developments in the films succeeding acts, a pivotal stroke as Nolan and his screenwriter accomplices understand that the city is as crucial a character in their legendarium as Bruce Wayne or Alfred, Lt. Gordon or Harvey Dent. Maggie Gyllenhaal replaces Katie Holmes from Batman Begins as the romantic plot device, as Rachael is re-contextualised from the first movie as Bruce’s most significant personal sacrifice – a totem which shortly becomes mortally intangible – a love requited but impossible to consummate given his psychological demons and the potential of an Achilles heel should a particularly fervid villain learn of their secret affections. After an entertaining (although rather redundant) sojourn to Hong Kong and an escalating body count the narrative reaches a second plateau, the preceding hour or so is undoubtedly the films weakest section, I don’t want to belabor the point but the frantic cutting of editor Lee Smith can leave the viewers a little confused and a few redundant threads are raised – the copycat vigilantes, the blackmail attempt from a suicidally ambitious Wayne Industries executive – all of which seems a little forced even as it inevitably links in with later developments in a rather overly complex*, serpentine script. All of these maneuvers are presented in the usual single character frame shots, spiced up with a creeping track-in camera movement as characters spin out some occasionally portentous dialogue, all punctuated with Nolan’s beloved cityscape establishing shot transitions, before we are relived of this flagitious framing with a rather memorable soirée amongst the higher echelons of Gotham society;
What’s that? No, no we erm don’t talk about what subsequently happened back at the party as that seems to be quite a serious omission from the cutting room floor, given that the narrative moves along without resolving the threatening incursion upon Gotham’s 1% one assumes that the protracted run time urged some serious snipping of the editors cruel scissors. Anyway, note the swirling, circling camera moves as the Joker expresses his fluctuating origin story, a simple but efficient tool to suggest the disorientation of having that mentalist literally in your face with a knife in view, as the threat moves from the abstract to personal for both Bruce and Harvey as the competing paramour of moon-faced Gyllenhaal. I think both Wally Pfster and Nathan Crowley have been somewhat overlooked in favour of Nolan’s and Ledger’s achievements on the movie, both these talents evidently worked in harmonious tandem, populating the film with a metallic sheen of reflections in the architecture of the film and embedding stark, regimented angular designs for the forces of order and control whose arrogant perch is assaulted by the explosive campaign of the Joker. Note that the native, primeval lair of the original Batcave has been exchanged for the rigid geometric order of the Batcave 2.0, the gothic and elemental superseded with the mechanised and controlled, the new nest of our nocturnal paladin sporting a sleek, cool and fetishistic sheen (as does his weapons, vehicles and armour), a sharp contrast to the primordial, instinctive tools of his opponent, as simple bombs and knives are the inventory of his anarchist adversary. The next sequence of note is the terrifying Al-Qaeda video inspired moment when the first hostage demand is transmitted by the press, I still can’t quite believe this sneaked into a 12A certificate film as it is numbingly nasty and genuinely unsettling, both times at the flicks the patrons were shocked into a dumbstruck silence, as cunningly Nolan cuts to an overhead shot of Gotham as a chance for the audience to catch their breath and compose their spirits, a lull in the storm before the next action sequence ignites;
After this meandering we come to the central action set-piece and the film never looks back. I’ve been somewhat beaten to the punch by this widely circulated analysis of the sequence which has its merits, although I think having issues with the 180° rule being consistently violated is somewhat missing the point – if it convinces, if it excites and thrills then it’s job is done, regardless of any arbitrary academic transgression, and the claim that this is just sloppy film-making and is not intentional on the part of Nolan and his editor is frankly ludicrous. The ominous and subtle joke of the fire engines ablaze is another nice touch, the shift from diagetic sound to Zimmer’s (quite literally) highly strung score easing us into a frenetic, brilliantly conceived and executed action sequence which stands above its peers by virtue of being, well, real. That’s real vehicles doing real stunts with real human beings, I’m not naive enough to think some of it wasn’t tweaked back in the labs but there are real visceral thrills in the sequence which does not rely solely on CGI domination (perhaps a little too real as a stuntman was killed during production), rather than using your cornea as a punching bag the concatenation has a drama, a lift and a presence through the characters and the parallel cutting techniques, and I’d argue that the entire film strives for a slightly disorienting, anxious ambience, embedded through every level of the film-making from the costumes to performances, soundtrack to set design. For all the films submerged depths and edifying intricacies it also delivers on the action and excitement front – let’s not forget that this is a $250 million Hollywood movie and as such it has some obligations to the cultural tropes of that breed of cinema – and this scene works as a microcosm three-act embezzlement of the form with its set-up and establishment of the characters in relation to the physical universe, the underground tussle and mêlée, and a final triumphant revelation of the Bat-pod and Westernesque showdown, all crowned with the twist reveal of Lt. Gordon bringing the maniac martinet to justice. I’ll admit I was suckered, I honestly thought Gordy had been killed earlier on so when he was revealed as the arresting officer on scene I was mentally punching the air in triumph along with the audience members who clapped and cheered along with this disclosure, a superb finish to what can roughly be parsed as the mid-point of the film, but not before we interrogate one of the more critical scenes of the entire movie;
There is nothing I can add to what already been expressed about this by Nolan here, it’s an illuminating interview, and you can see from that piece how the film works at an iconic level, he and Goyer and his brother got it and understand that the symbiotic relationship culled from the more mature Batman & Joker graphic novels are what makes them so intriguing and psychologically charged, this scene being the crux of the entire movie from which all the tendrils and all the other themes and events coalesce to lurk in a slithering, quivering mania. How can a force that thrives on conflict and degrading its opponent to its level ever be defeated? When do the ends justify the means in the face of illogical and indiscriminate brutality? When faced with the dispassionate, indifferent cruelty of the world and its hollow and hypocritical moral structures isn’t the only sane response to go insane? On that charming note let me draw a veil over part one of this reprise, giving me a breather to compose part 2 where we’ll get into the remainder of the film along with the performances, with some of the more virulent adumbrations and crucially how the film slots neatly into Nolan’s wider worldview, it’s all to come in a couple of weeks after this apprehensive musical interlude;
* Here is my favourite, most sarcastic appraisal of one of the films most glaring flaws – ‘I especially like the part where he (the Joker) had arranged to have two guys named Harvey and Dent killed so as to draw Batman’s attention to a bullet fired into the brick wall at the crime scene knowing that bullet would shatter but that Batman would recover it and take it to an improvised crime lab where he would then discover a way to model the shattered bullet on his computer and virtually reassemble the bullet in order to discover a fingerprint belonging to the minion who put the bullet in the gun and in whose apartment Batman would then discover that the funeral guard for Commisioner Loeb’s funeral has been bound and gagged and as Batman walks to the window to discover that the apartment overlooks the funeral of the commissioner, he fails to notice that a timer has been set to snap the window shade up at exactly the second that Batman arrives at the window, causing the snipers covering the funeral to fire at the window and allowing the Joker to make his next move! That is tight planning! I can see why audiences were so swept up by this story, which was not at all horseshit’….