I swear that I tried holding off as long as I could to post my review of The Movie of the Summer (and I don't mean
Mamma Mia!). Two days was about all I could handle.
Before you read this, two things: I liked it very much, so you won't find anything contrary to most other reviews. Secondly, I strongly dislike most sequels because I usually view them as sell-out attempts at cleaning out the box office (if it worked once, it should work again, right?).
When I got to the theater, almost every seat was already filled. And if it wasn't, it was filled 20 minutes before the feature began. Since I had time to think, I wondered whether these people were there to see Heath Ledger's posthumous performance or to see the second installation to Christian Bale's Batman. I also wondered the same about myself. I thought
Batman Begins was a successfully ambitious interpretation of the Batman genre (that's what it is, really) and even before Heath Ledger's death I knew that I wanted to be there for it's opening night. But knowing that one of the supposedly eeriest performances was to be a man's last performance certaintly gave me a morbidly curious desire to see the film. Either way, it was well worth the $10 ticket.
The Dark Knight was darker and more tormented than the last movie. There was less emphasis placed on the gadgets and secret lairs of Batman and more emphasis placed on the inner turmoil and questions of justice that each character is subjected to. Batman becomes even more of a creature driven by inner turmoil of being a custodian of public duty. As each person he loves is pulled away from him, he becomes more and more resigned to what his destiny holds. And we have yet to see what becomes of his fate.
Even more so than the last film, this movie was driven by a strong cast. The introduction of Maggie Gyllenhaal as his childhood sweetheart, Rachel, instead of Katie Holmes was a surprisingly welcome change. Although I am still not sure why this was negotiated (perhaps motherhood or other roles interferred), Maggie delivered a much stronger and oddly more sensual element to her role than did Katie. Aaron Eckhart added the perfect sense of political duty and brashness as the District Attorney Harvey Dent. Morgan Freeman and Michael Caine reprise their solid roles as Lucius Fox and Alfred Pennyworth, Bruce Wayne's two closest mentors.
And then there is Heath.
The emotions raked up by his performance are as tormented and as confusing as The Joker himself. The story he gives for his mangled scars caused a strange twang of pity in me as I realized he must be the victim of a loveless and abusive childhood. One soon realizes that his story, like everything else, is just a game: "I'm a dog chasing cars. I don't have plans. I just do things...". A brilliant loose cannon of sorts, The Joker's character seems to evolve throughout the entire movie, something I don't think I have recently seen a character do. Good characters become evil, evil characters turn to good, but The Joker becomes even more twisted and calculating without purpose as the movie goes on. Heath portrays moments of gruesome humor with The Joker's words, followed by quiet moments of tormented fervor with his eyes alone. It is truly remarkable.
My favorite and most memorable scene of the entire movie is of
The Joker riding in a stolen police car in the twilight, his head leaning out of the window. The camera angle is shaky and the lighting is dim. The sound is muted as if he is impervious to anything around him. One can almost look through the makeup and see a young man at the pinnacle of his career, driving head-on into whatever comes next in this game of life. Almost