The Dark Knight

Dark Knight, The– 2008

To allege that Christopher Nolan’s The Dark Knight was a comic book or superhero movie, at least a traditional one, would be an obtuse declaration. One might as well simultaneously insinuate that Raiders of the Lost Arc is a religious film or that Taxi Driver is about America’s transportation infrastructure. While those analogies may be trifle embellished, the caped crusaders latest exploits are comic only in essence and spirit and by no means in practice. It is this that makes this film so unrivaled. Interchanging the Batman character with another ambiguous vigilante, would in no way detriment the masterwork of storytelling and atmosphere Nolan has crafted. In fact, the Batman persona and the names of the supporting characters and settings are the only elements that set it aside from reality, leaving the structure of the film to support an abounding and vivid crime epic; a modern masterpiece.

Following the successful reboot of the Batman franchise after the Batman and Robin debacle with 2005’s Batman Begins, a sequel was immediately inevitable. Not only does The Dark Knight trump Batman’s revival which was sensational in its own right, but absolutely out trumps its predecessor in every facet of filmmaking. If I had been informed after Batman Begins’ release, that its 2008 follow up would be superior, I would have felt obliged to laugh in their face. I am however, humbled and delighted to repeal my fanciful dismissal. The Dark Knight instead sits alongside classics such as The Empire Strikes Back, The Godfather: Part II and Aliens as one of the greatest sequels ever made.

The fascinating and unique occurrence in the Dark Knight is that success is born from every vein of its construction. From the impeccable scripting from Christopher and Jonathon Nolan, to the boundless performances from all its stars, to the sense of awe evoked from the cinematography and sensationally staged action sequences, the combined affect is lasting and boasts as much depth and is more chilling then any movie this decade. Upon repeated viewings, varying achievements of the film were revealed. The plot although complex, never baffles and the intricacy of which everything is connected is nothing short of genius. There are twists, but never at the expense of the audience and the revelations never insult us or are embellished. They are simply all part of the plan.

Since the tragic death of Heath Ledger following shooting, all eyes have been upon his portrayal of The Joker. Nothing will be able to prepare you for sheer sense of awe that will eclipse you when you witness Nolan’s vision and Ledger’s rendering merge. The Joker demands your attention, and you are happy to oblige. Ledger is nothing short of astonishing and is most deserving of an Oscar, but makes his premature departure all the more heart-wrenching. However, more credit is due to Nolan for keeping the film just as engrossing when The Joker is absent. This is chiefly do to the faultless execution from Aaron Eckhart as Harvey Dent, who’s fall from grace is both tragic and involving, Gary Oldman, who gets more screen time as Lieutenant Gordon, and wastes nothing and Christina Bale who is so consistently sensational, recognition is almost no longer necessary. Boasting the additional talents of Maggie Gyllenhaal, Morgan Freeman and Michael Caine a scene is never wasted between this stellar ensemble cast.

Brooding over Gotham City a silent hero, the dark knight has dispersed his justice against those who prey upon its citizens. With the silent aid of Lieutenant Gordon (Gary Oldman), there is a shaky aura of peace surrounding the city. Allying himself with the newly appointed district attorney, Harvey Dent (Aaron Eckhart), the mob is on their final legs. That is until the clown prince of crime himself, The Joker (Heath Ledger), offers his services to Gotham’s seedy underbelly. The mob does not know what they have done however, as The Joker quickly heightens the scope of his deranged antics. The Joker hallmark’s himself as an agent of chaos, an entity nobody can understand or predict. Batman (Bale) struggles to lift the vale of darkness eclipsing Gotham, but The Joker’s schemes are driven by an agenda that the caped crusader is unable to untangle. Calling on the aid of Rachael Dawes (Maggie Gyllenhaal), the only person who knows his identity and Dent’s new love, Luscious Fox (Morgan Freeman), Wayne Enterprises CEO and gadget specialist and draws support from his faithful butler Albert (Michael Caine), Batman flounders under the pressure of The Joker’s demand to reveal his identity in exchange for halting his rampage.

It would be an honour to label The Dark Knight the best of Christopher Nolan’s films; alas that prestigious rank belongs to Memento, although I personally consider it a complement. To have a film this sensational and not have it be ones best is a testament to skill and craftsmanship. Running at a beefy two and a half hours, The Dark Knight wastes nothing. With such bravado and emotional resonance, this film is the year’s best, one of the decade best and if you have to put a simplistic label on it, the best superhero movie ever made. Although I am again infallible in my belief that this film can not be bettered by a subsequent third instalment, if anyone is capable it is Nolan, Bale and their unequalled team, that can leave me biting my tongue and crying out for more.