THE STORY – When a menace known as the Joker wreaks havoc and chaos on the people of Gotham, Batman, James Gordon and Harvey Dent must work together to put an end to the madness.
THE CAST – Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal & Morgan Freeman
THE TEAM – Christopher Nolan (Director/Writer) & Jonathan Nolan (Writer)
THE RUNNING TIME – 152 Minutes
Hollywood has a long history of going through phases that are at the center of attention for general audiences. Many of them have general peaks in popularity before becoming less impactful, whether that be the glorification of the Western in the early days of cinema or the abundance of musicals that advertised the overwhelming soundscape and visual feast. Event films have consistently been a priority for the industry, and those based on recognizable properties are not at all a new phenomenon. When Christopher Nolan decided to reinvent one of the most well-known comic book franchises with “Batman Begins,” it signaled a triumphant return to celebrating the world of this character. Still, it did not signal a fundamental shift in overall perception. The release of “The Dark Knight” a few years later absolutely changed that environment. The vision brought to this material brought about immense change across all facets of the industry, and looking at this work, it’s not hard to imagine how that came to be. Such a film can only have a monumental effect when it demonstrates exceptional craftsmanship and a compelling story, which Nolan absolutely delivered with this piece.
Following the events of the previous film, Gotham City has found itself under the terror of another formidable villain menacing its citizens. As Bruce Wayne (Christian Bale) dons his alter ego in an effort to curb rampant criminality, a new face has emerged amid the sea of gangsters wrestling for control. An unknown man, known only as the Joker (Heath Ledger) due to his painted white face and flamboyant clothing, has been attached to murders and armed robberies, with an anarchistic spirit that has made him particularly dangerous. It’s a serious threat that has emerged, one that is balanced by the enthusiastic response; the city’s new district attorney, Harvey Dent (Aaron Eckhart), is determined to conquer it. It’s an emotionally complex situation, as Wayne wants to support the “white knight” that will legally bring these criminals to justice while also being conflicted by the romantic relationship Dent has with Rachel Dawes (Maggie Gyllenhaal), whom he continues to pine after. The tensions rise as Joker continues to rain down twisted judgment on all who cross his path, ultimately hoping to tear the city apart through its own fears and insecurities. It’s up to Batman and his cohort of allies to stop him, but doing so may come at a price that even this superhero is unprepared to experience.
Nolan has always been a storyteller who manages to infuse a sense of realism into even the most fantastical of circumstances. One of the features that made this film’s predecessor so intriguing was the commitment to frame elements of Batman’s universe within a grounded nature, giving practical explanations to his gadgets and backstory. That tone is even more pronounced here, as the city landscape sheds nearly all hints of a studio backlot and fully embraces the striking Chicago scenery. But that doesn’t mean the audience is in for a drab experience either. Clearly taking inspiration from the films of Michael Mann, the filmmaking still has a propulsive energy that keeps the setting incredibly riveting. Wally Pfister’s beautifully dark cinematography enhances every frame with textured imagery that makes the sequences so alluring, especially with the IMAX cameras capturing the massive scope of thrilling set pieces. The action and drama are delicately balanced by the editing, making the lengthy runtime fly by as we become invested not only in Batman’s escapades, but also in the political and personal turmoil these characters must endure. Christopher Nolan’s filmmaking has always had an appreciation for the large scale, and the massive frame measurements measure that scale effectively. Whether chasing the Bat-Pod on the streets of Lower Wacker or simply admiring a stoic character standing amongst rubble, his efforts to assemble this work are monumental in presentation and very captivating.
The higher standard of quality also extends to the screenplay that Nolan and his brother Jonathan have crafted, one that relishes a morally complex discussion of the ethics at play. It’s another layer of reality thrust upon this narrative, and it offers an engrossing commentary on the tactics used to bring down those who intend to harm the larger populace. The main antagonist is determined to prove that there is ugliness within society, a cruelty that is utterly willing to disregard norms in an effort to burn an entire system to the ground. Battling such an enemy could also mean corrupting your own moral compass. Does utilizing predatory and invasive techniques become acceptable if the ends justify the means? Must the legends we build to honor saviors be preserved if a more insidious nature reveals itself? These questions have lingered ever since the film’s premiere, when the toll of George W. Bush’s presidency left the United States with a fractured psyche in battling omnipresent terrorism. The storytelling is not setting out to bring definitive answers to these questions, but to ponder the state of the world, and their very existence can insinuate a damaged culture. Some characterizations can become flattened, or some scenes can contribute to an already lengthy runtime. However, the Nolans weave a fascinating tale that walks a delicate line between gritty realism and fantastical comic-book logic. The world is dark and solemn, but presented with such grandiosity that entertainment is never sacrificed either. The tone can be exciting or disturbing, but it’s consistently provocative.
An affliction that many Batman films have suffered from is having a stronger attachment to the villains than to the main hero. Ever since Jack Nicholson got top billing in 1989’s “Batman,” this superhero’s impressive rogues gallery has consistently managed to steal the spotlight in nearly every adaptation. While it may be a similar case here, it’s hard to deny that justification when witnessing Ledger’s monumental performance. He offers a Joker that feels completely novel, harnessing the recognizable energy of a crazed individual. Still, this time with a much more sinister presence that creeps in as soon as Hans Zimmer and James Newton Howard’s score underlines every appearance. His gravelly voice and face paint make him nearly unrecognizable, even with the makeup starting to smear away and barely revealing the disfigured human face beneath. There is so much engrossing energy that exudes from Ledger, who can carefully utilize his menace like an exacting scalpel to meticulously draw out the tension. However, his portrayal is not totally shrouded in darkness. There is a playfulness to his aura, which makes his presence all the more intoxicating. There’s humor there that blends exceptionally well with the threatening peril that is felt. The Joker has had countless interpretations over the years, and Ledger earns his place as one of the most impactful, with an understandably long legacy.
Even though Ledger takes most of the spotlight, that doesn’t mean the rest of the ensemble is completely lacking either. Bale’s version of Bruce Wayne has always been a portrait of inner conflict that wrestles between wanting to strive for normalcy while heeding the call to bring justice to the streets. It’s an emotional portrayal that nicely textures Wayne. It’s far more effective than his Batman, which may be an impressive feat of physicality, but loses nearly all mystique when the voice that sounds like it’s been gargling rocks bursts through. While it was tolerable in the previous films, it becomes more grating here due to the larger chunks of dialogue required to perform. Eckhart is another fine addition, even if some of his more histrionic outbursts don’t quite land. However, he is adept at showcasing the beaming optimism that has a sinister undercurrent, eventually transforming him into the villain Two-Face. This persona is terrifying in both physical appearance and the horrific acts of violence he commits. Gyllenhaal may be the superior actor to Katie Holmes, who she replaces in the role, but the writing is significantly inferior. Dawes struggles to have much dimension beyond her relationships with these two men, making her another casualty of Nolan’s weakness in writing more interesting female characters.
There are several other nicely placed members of the ensemble, even if a couple chew through a heavy Eastern European accent in a broad manner that is less engaging. The old veterans like Michael Caine and Morgan Freeman manage to carry their own weight in the small but impactful roles. However, Gary Oldman as Commissioner Gordon proves to be one of the film’s secret weapons. His version of this character is a lot more involved with Batman’s outings and, therefore, comes across as a more active force. The calming presence he tries to instill in every scene, with a collected demeanor that can still toss aside sharp dialogue with ease, feels the most like a character who’s just walked off the set of “Heat.” Oldman takes what was normally a stilted character, barely interacting with the main plot, and turns him into an endearing role whose determination is applauded. Still, there’s an unease within this man as well, and when we arrive at the harrowing finale that reckons with his own decisions, one of the film’s most powerful scenes becomes completely alluring. Oldman’s presence is a large reason for its effectiveness.
A film does not necessarily need to aspire to greatness to have a lasting legacy. For many of the works in Christopher Nolan’s repertoire, that status seems easy to come by. Being one of the most important and influential directors will automatically carry that distinction for any project. Yet, the work on “The Dark Knight” feels even more singular. His perspective led this material away from its venerable but somewhat sillier roots and planted it in a modern landscape that made the storytelling even more potent. The political intrigue it discusses is endlessly fascinating, supported by invigorating set pieces and absorbing commentary being delivered with a gripping sense of momentum. The ensemble all delivers, even if some blemishes can be spotted, and the overstuffed narrative may come close to stretching itself thin, but never quite crosses that threshold. The world of Batman may continually endure, but the shadow this entry has cast is long. It’s a standard that’s hard to overcome in the years since, for better and worse.
