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Most sequels feel that -- in order to meet the expectations created by their first film -- they must give the audiences more. More action, more explosions, more effects. And they're right; squeezing more things into the same world makes for a safe, predictable way to guard against sophomore disappointment. The Dark Knight is an exceptional sequel because it does not simply increase; it expands.
Set after 2005’s Batman Begins (though we're not told exactly when), The Dark Knight opens with a bank heist committed entirely by men in clown masks. It is not particularly clever, but it is bold and ruthless, and cleanses the audience’s palette of any Nicholson-inspired preconceptions they might have about the Joker (the late Heath Ledger).
The film quickly pulls back to show us the broader reaction to the events of the first film; though crime is far from wiped out, the presence of Batman (Christian Bale) has criminals looking over their shoulder for the first time. It has also helped propel the candidacy of one Harvey Dent (Aaron Eckhart) into the post of District Attorney. Gotham is ambivalent about Batman’s unmonitored methods, and attaches its hopes to Dent. Bruce Wayne does the same, seeing Dent as a successor of sorts, and his way out of the existence he’s chosen. The fact that they are both competing for the affection of Rachel Dawes (Maggie Gyllenhaal) complicates things.
The contrast between these two styles in pursuit of the same goal is emblematic of the divisions found in real-life law enforcement agencies, and underlines why Batman’s vigilantism is necessary in the first place. Jim Gordon (Gary Oldman) acts as a liaison between the two, which comes with its own pitfalls as his two allies begin to pull him in opposite directions. Both Batman and Dent can make a case for their particular method, though they manage to compromise when the Joker introduces himself to Gotham.
The less I say about the plot’s many machinations, the better. Suffice to say, it is equal parts fantastic and realistic. If you catch yourself feeling underwhelmed an hour into it, as I foolishly did, it is a sure-fire sign that you're about to have your conceptions of the film upended. It lulls us with an intricate, if forgettable series of events that turn out to be the calm before the storm.
What follows is a series of schemes tailor-made to tear down the Batman mythos. The Joker presents Batman with impossible ethical choices that invite Gotham to turn on him -- and each other -- as their symbols of hope begin to fade. As always, Alfred (Michael Caine) is a better gauge of character than Bruce, and quickly detects that this is a villain who can't be bargained with.
The Joker is a disturbing character, not only for the obvious reasons, but because he exhibits an unsettling clarity about what he's doing. He seems to know Batman better than the hero knows himself, and possesses the kind of self-knowledge we don't like to think is possible in psychopaths.
It is often remarked, in big bold letters on movie posters, that certain films “don't let you catch your breath.” With The Dark Knight, it’s not much of an exaggeration. The tension is almost unbearable at times. Enormous credit must be given to director Christopher Nolan, whose gritty style – which favors physical stunts over computer-generated spectacles – makes him the ideal choice for the film. It's easy to suspend your disbelief when so much of what you're seeing is real.
There’s a lot to digest here. The Dark Knight manages to weave a dense tapestry of themes together in a way that will surely reward multiple viewings. The film uses every minute of its 152-minute runtime to resolve and realize its crisscrossing narratives, yet holds together perfectly the first time through.
The performances are, in a word, stellar. Most characters disappear into their roles entirely, and Ledger is positively invisible as the Joker. It would have been all too easy for him to play the character any number of safer, more conventional ways. Instead, he takes a chance with a nearly comical interpretation that he never lets devolve into self-parody. His reward is a likely Oscar nomination, and a place in the pantheon of cinema’s classic villains.
Some ado has been made of the fact that The Dark Knight is the first Batman film not to contain the word “Batman” in its title. Those who have seen the film know why the change was made. The shift from Batman’s name to his most prominent alias is not merely a stylistic choice. It feeds a new understanding into the story which has just been told, and is the film's final commentary on the character's evolution.
Set after 2005’s Batman Begins (though we're not told exactly when), The Dark Knight opens with a bank heist committed entirely by men in clown masks. It is not particularly clever, but it is bold and ruthless, and cleanses the audience’s palette of any Nicholson-inspired preconceptions they might have about the Joker (the late Heath Ledger).
The film quickly pulls back to show us the broader reaction to the events of the first film; though crime is far from wiped out, the presence of Batman (Christian Bale) has criminals looking over their shoulder for the first time. It has also helped propel the candidacy of one Harvey Dent (Aaron Eckhart) into the post of District Attorney. Gotham is ambivalent about Batman’s unmonitored methods, and attaches its hopes to Dent. Bruce Wayne does the same, seeing Dent as a successor of sorts, and his way out of the existence he’s chosen. The fact that they are both competing for the affection of Rachel Dawes (Maggie Gyllenhaal) complicates things.
The contrast between these two styles in pursuit of the same goal is emblematic of the divisions found in real-life law enforcement agencies, and underlines why Batman’s vigilantism is necessary in the first place. Jim Gordon (Gary Oldman) acts as a liaison between the two, which comes with its own pitfalls as his two allies begin to pull him in opposite directions. Both Batman and Dent can make a case for their particular method, though they manage to compromise when the Joker introduces himself to Gotham.
The less I say about the plot’s many machinations, the better. Suffice to say, it is equal parts fantastic and realistic. If you catch yourself feeling underwhelmed an hour into it, as I foolishly did, it is a sure-fire sign that you're about to have your conceptions of the film upended. It lulls us with an intricate, if forgettable series of events that turn out to be the calm before the storm.
What follows is a series of schemes tailor-made to tear down the Batman mythos. The Joker presents Batman with impossible ethical choices that invite Gotham to turn on him -- and each other -- as their symbols of hope begin to fade. As always, Alfred (Michael Caine) is a better gauge of character than Bruce, and quickly detects that this is a villain who can't be bargained with.
The Joker is a disturbing character, not only for the obvious reasons, but because he exhibits an unsettling clarity about what he's doing. He seems to know Batman better than the hero knows himself, and possesses the kind of self-knowledge we don't like to think is possible in psychopaths.
It is often remarked, in big bold letters on movie posters, that certain films “don't let you catch your breath.” With The Dark Knight, it’s not much of an exaggeration. The tension is almost unbearable at times. Enormous credit must be given to director Christopher Nolan, whose gritty style – which favors physical stunts over computer-generated spectacles – makes him the ideal choice for the film. It's easy to suspend your disbelief when so much of what you're seeing is real.
There’s a lot to digest here. The Dark Knight manages to weave a dense tapestry of themes together in a way that will surely reward multiple viewings. The film uses every minute of its 152-minute runtime to resolve and realize its crisscrossing narratives, yet holds together perfectly the first time through.
The performances are, in a word, stellar. Most characters disappear into their roles entirely, and Ledger is positively invisible as the Joker. It would have been all too easy for him to play the character any number of safer, more conventional ways. Instead, he takes a chance with a nearly comical interpretation that he never lets devolve into self-parody. His reward is a likely Oscar nomination, and a place in the pantheon of cinema’s classic villains.
Some ado has been made of the fact that The Dark Knight is the first Batman film not to contain the word “Batman” in its title. Those who have seen the film know why the change was made. The shift from Batman’s name to his most prominent alias is not merely a stylistic choice. It feeds a new understanding into the story which has just been told, and is the film's final commentary on the character's evolution.