‘The Dark Knight’ premièred a couple of weeks ago.
The theatre ticket was worth every penny.
Films based on the Batman character have been around for quite a bit. I remember watching my first ones in the early-90’s with ‘Batman’ (1989) with Michael Keaton as Batman and Jack Nicholson playing The Joker. Keaton went on to reprise his role as ‘bats’ in ‘Batman Returns’ (1992) Danny DeVito was cast as a pitiful penguin in that one. Both of these films were directed by Tim Burton.
‘Batman Forever’ (1995) saw Val Kilmer cast as the caped crusader probably setting him up for his role in ‘The Saint’ in 1997. Tommy Lee Jones and Jim Carrey weighed in as Two-Face/Harvey Dent and the Riddler respectively. Burton produced this film and handed the directors reins to Joel Schumacher. It was swiftly followed by ‘Batman & Robin’ (1997) with George Clooney as Batman and Chris O’Donnell as Robin. In what was an indicator of the studio’s haste to milk the franchise dry, the Batgirl was introduced as Alicia Silverstone and suddenly the Batcave had become rather crowded. Arnold Schwarzenegger ’s performance as Mr. Freeze left me cold and I remain more attracted to than afraid of Uma Thurman’s Poison Ivy. Robin gets to kiss her in the film and it doesn’t seem to be as bad as they’d like us to believe, I was actually envious of him.
Up to this point the Batman movies just sucked. They were infused with artificial darkness in an effort to capture the feel of batman and bring the comic-book hero alive on screen but rather than focus on bringing out the batman mythology; why he is who he is and why even without superpowers he’s still as big as superman (maybe bigger through Frank Miller’s looking glass). Christopher Nolan must’ve been woken up by the smell of the coffee from the Marvel film sets for both the X-Men and Spiderman franchises which successfully used film to narrate the comic book stories rather than attempt to directly lift the action from the pages and animate it for the big screen.
We owe Bryan Singer (X-men) , Sam Raimi (Spiderman) a debt of gratitude. They clearly understood that it is silly to try and tell a story the same way using media formats that are as different as the Comic book and Film. Even Robert Rodrigues’ Sin City (2005) which closely mimicked the tone of Frank Miller’s Graphic Novels still truncated most of the storylines. Miller himself took certain liberties in the telling of the battle of Thermopylae in his Graphic Novel ‘300′. Zack Snyder went on to do the same in the film adaptation in 2006.
That being said, Nolan’s ‘Batman Begins’ (2005) was like the return of the prodigal son. After years of wandering in the wastes of mediocrity, the bats had come home to roost. It is the celluloid equivalent of the paradigm shift in the public perception of Batman that was triggered by Frank Miller’s ‘Return of the Dark Knight’ in 1986 and subsequently followed by his efforts in ‘Batman: Year One’ and the 3 volumes of ‘DK2′ . In ‘Batman Begins’ it is not Christian Bale, or even Bruce Wayne that hold centre stage; it is Batman. The character for the first time on film transcended the actor who played him. Bale opened a window into his mind. We struggled with him as he made difficult choices, clumsily fell off balconies with him in his first attempts at playing vigilante and in that way we begun to care about the Batman.
In ‘The Dark Knight’ (2008), Nolan and Bale pick up probably light years away from where they had left off. The filmaking remains faithful to delivering a believable Batman but it succeeds in doing this even more than ‘Batman Begins’. What this film delivers in spades is a villain so villainous that he got a standing ovation at the end. The late Heath Ledger is a revelation in his performance as The Joker in this picture. The only thing he had in common with the Jack Nicholson interpretation was the face make-up and even that was far fetched.
Ledger was completely immersed in the character bringing out a worthy adversary to the Batman. This Joker was as twisted as he was brilliant, as complex a character as he was depraved. The opening sequence where the audience is introduced to him in a bank heist is beautifully shot but as the film progresses it becomes evident that this was only a partial introduction. The many layers of his personality are revealed incrementally, each darker than the last. Unlike his uni-dimensional calling cards, The Joker’s psyche has infinite dimensions. He isn’t in pursuit of ends as pedestrian as cash and he demonstrates this by setting fire to quite a bit of it in the film. No, the Joker’s after something more, something bigger, something less tangible. Even I’m still not sure what it is but I think it maybe he wants to steal our hope and belief in the good that is in us.
He places Batman, Harvey Dent, the Police, the people of Gotham City and ultimately us in such diabolical moral dilemmas that it is plausible that he is Lucifer-lite. He is frightening in his compassion, giving all his victims just enough choice to make decisions that will haunt them for the rest of their lives. In one scene, he kills a mob boss and tosses them a broken billiard cue to the 3 bodyguards telling them his organisation has a vacancy for only one – leaving them to fight it out among themselves. but what is the Joker without the Jokes? In the midst of all the mayhem, he is still a funny character. In a nod to the modern-day terrorist, he crashes in on a mob meeting rigged to explode and goes on to make them an offer they cannot refuse. In another scene, he blows up a hospital he has given notice to be evacuated but when it doesn’t go according to plan, we see him seemingly perplexed by his faulty remote detonator only a minute later to have a mighty explosion rock the hospital and the Joker hurry guiltily away as though he had nothing to do with it.
It is good that there were no Robins and sundry characters to distract us from the Batman/Joker dichotomy. The film successfully delved into ethical questions we struggle with in some way everyday. Morgan Freeman as Lucius Fox meets attempted blackmail with a thinly veiled threat and then turns around to conscientiously object to Batman’s misappropriation of sonar technology to eavesdrop on the people of Gotham City. Michael Caine’s Alfred the butler secretly makes an ethically ambiguous choice that allows Bruce Wayne to go on being Batman and is the strong shoulders upon which our disillusioned and despairing hero leans upon. Even Lt. James Gordon isn’t above a little deception in the pursuit of justice and we see the political considerations that shape the thinking of the mascara-wearing Mayor of Gotham City.
There were a few things about the film that I disliked. Batman sounds as though he’s just survived a garrotting and is in need of throat lozenges. I was afraid that if Bruce Wayne stayed in the Batman guise for too long, he may develop laryngitis. The transmutation of Harvey Dent into Two-Face was a bit too fast for me. It takes some doing for paragons of virtue to cross over to the dark side. Anakin Skywalker needed 3 episodes of the Star Wars films before he finally became Darth Vader (albeit they traced back to all the way to his childhood). A few hints on the demons that Harvey kept locked up inside himself would’ve made the slide into insanity easier to understand.
I tip my visor to Messrs. Nolan, Bale and Oldman. I bow to Bob Kane who created batman, Frank Miller who revived him, the late Heath Ledger whose Joker made us believe in Batman again and all the other people who rescued the damsel in distress that is the Batman story.
You are the true dark knights.
Audiophile: The Killers – Shadowplay
Off my shelf: Batman; A Death in the Family
Midday Matinee: The Dark Knight (2008)
Starring: Heath Ledger, Christian Bale, Gary Oldman, Michael Caine, Morgan Freeman and Maggie Gyllenhall
Directed by:Christopher Nolan


































