Hype is what drives many fan boys to run into theatres, expecting the next big thing, lives to be changed for the better. Reading the unanimously hyperbolic reviews for The Dark Knight, it seemed a certainty that a wall of sobering reality was going to be hit once the curtains actually parted.
Well, there was a wall, but not the one expected, which made the crash so much heavier.
Coming out of ‘The Dark Knight’ was a groggy, disorientating experience. From the gorgeous Michael Mann-blue flames of the opening, the most one was expecting was a professionally groomed and moody action drama. Christopher Nolan, finally free of studio interferences that hampered Batman Begins (Katie Holmes / a clichéd second half showdown), would be able to create the definitive Batman film, and a summer blockbuster worthy of the title. But the viewer should be advised to expect a great deal more.
‘The Dark Knight’ is a car crash: a huge, blistering, never-ending fiery ball of gleeful destruction, happening over and over again, each time more and more horrific.
An epic, widescreen crime drama, one that examines the psychological and personal burden of dealing with unfettered crime and evil in a corrupt city, The Dark Knight should be taken seriously, not just because of pretentious notions of high art, but because if you don’t go into this film mentally armed, it will be terrible for your health. This is better than anything Burton could ever muster, and better than anything Schumacher could even comprehend.
Without wanting to spoil anything about the story, one moment that deserves honourable mention is the sublime closing sequence. Many publications are already discussing further sequels, and awaiting Nolan’s confirmation of his return. But The Dark Knight ends on a supreme downbeat tone, one that spins off Batman’s cinematic tale into infinity. Much like the ending of The Godfather II, the story will go on and on, but should only do so within our imaginations.
To talk of Heath Ledger’s performance is difficult, merely because, as gigantic as it is, it is only one important feature of an intricately wrought canvas, and to highlight it first would do disservice to the writing, directing, and awesome ensemble acting on display. The big surprise of the film is that Heath Ledger not only plays The Joker, the World’s Most Impressive Terrorist, but at times appears to play the part of the Devil himself, presented in a punk-chic form that will be imitated at Halloween parties for years to come. The pretty boy from 10 Things I Hate About You plays one of the most iconic cinematic villains since Darth Vader and that scary clown from It? Yes.
Once the shocks of twisted expectations have vanished, the matter at hand will be working out precisely how good this film is. Destined to appear high on end of year lists, many have already proclaimed it as not only the best comic book movie of all time, but also one of the best movies ever made. The latter is contentious, and the cliché would be to say that time will tell how good The Dark Knight really is.
