Tugging On The Dark Knight’s Cape

More proof we can find fault with anything.

The Dark Knight has now surpassed Spiderman 3 with the highest grossing opening weekend release. This is good for two reasons: first, we would applaud any movie, even one starring Will Ferrell, for trouncing the ridiculous and self-indulgent piece of crap that was Spiderman 3; and second, its critical success, along with the successes of Iron Man and Hulk, helps solidify the superhero movie in the face of less successful recent attempts that could have tanked the genre (like Spiderman 3 or Ghost Rider).

Much has already been written about The Dark Knight, and we’ll do our best not to repeat it all. True to our purpose, however, we’ll offer some dissenting opinions about what is, without a doubt, one of the best superhero movies ever and certainly one of the best movies this year.

First, The Dark Knight earns and deserves an R-rating. Had Maggie Gyllenhaal shown her breasts in the film, or were there any other attempt at overt sexuality, it would have gotten one. But since the majority of the film contains only intense violence and sadistic torture, the MPAA has decided that children in their teens, and parents who push the envelope by taking their five-year-olds to the show (as they did at the screening we attended), are just fine seeing this stuff. This isn’t really a jab at the movie, per se, but it’s a warning to those who see the film’s PG-13 rating and expect something lighter and less threatening. For the few who, like me, enjoy going into a film without researching every last detail, be forewarned that this is a dark film. It is a violent film. It is a disturbing film. That’s part of what makes it a great film. But when it’s not what you’re expecting, the ride can be unnerving.

Second, while The Dark Knight must be praised for its relative faithfulness to the Batman comic storylines, a bit of editing was in order. At 152 minutes, it’s a very long film. Part of that is necessary. As we follow the characters through traumatic event after traumatic event, it’s as if we, too, are going through a gauntlet, and it is as exhausting for us as for the characters. But some parts could have been cut dramatically, without losing their effect: Batman’s French Connection-esque ride through a Gotham City shopping mall, for example; or some of the lengthy scenes with Gotham’s underworld bosses. For comics fans, it may be a great thing to see such dedication to the books. To the average viewer these scenes drag.

As for performances, the accolades are deserved. Heath Ledger is indeed perfect as the Joker. Thankfully ignoring the camp and pomp of predecessors Cesar Romero and Jack Nicholson, Ledger portrays the Joker as a psychopathic agent of destruction flying in the face of any attempts at order. He is as frightening a villain as Manhunter’s Francis Dollarhyde or Cape Fear’s Max Cady. Likewise, Aaron Eckhart brings gravitas to his portrayal of Harvey Dent, and the rawness of his emotion at the film’s end is heartbreaking at the same time that it is disturbing. In light of these tours-de-force, Christian Bale and Maggie Gyllenhaal seem merely adequate. Both give fine performances but neither is a standout compared to Ledger and Eckhart. The dark hearts of their performances give the film its weight and movement.

Ultimately, The Dark Knight deserves the praise it’s receiving. As with its predecessor, it’s wonderful to see the oft-maligned franchise re-imagined as a serious and even tragic vehicle. And it’s if anything more than enough to tide us over until the next one.

-Jennifer Vasil

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