You all know what it is.
Having just seen it this afternoon, I haven’t had enough time to let the thing percolate yet…and I would go back, but I’m afraid I will once again be in a theatre where some asshole is talking on a cell phone right in front of me...!
Dear God, have things gotten that bad? And this is just Vancouver, British Columbia we’re talking about, just a little backwater in the scheme of things, really…
…So I don’t know quite how long it’s going to be, before I have more than just a couple of disjointed thoughts on it. But one thing’s for sure, and that’s that Heath Ledger’s Joker is a thing I simply cannot get out of my mind. That face! That voice! That slouch! All those fascinating choices. Really good. Better than good.
That performance will bear rewatching, probably several times. In fact I don’t think I am ever gonna get tired of watching it. It is amazing and unbelievable to me, that we have never had a Joker like this before. Surely it was always there, just waiting for someone to play it? But no, it’s all brand-new, and it’s all-brand nuts, and sadly it’s the only one there will ever be of its kind. The script helps: this Joker’s got some fresh ideas, and he’s a lot smarter than the guy in the comics, his purpose more refined. But it’s Ledger who made me think “oh my God, the way he’s sitting there, it looks just like he’s wearing…!”
But, well…you can see for yourself.
Anyway, it’s pretty wild.
I expected Christian Bale to get lost in all of that, frankly. But maybe the best thing about Dark Knight is that he doesn’t get lost at all. I won’t say there aren’t any weird discordant notes, but I won’t mention them: after all, this is a Christopher Nolan movie, so the discordances are probably supposed to be there, and I just haven’t processed their significance yet. But anyway, even if I were to never crack that code, it’d hardly matter — because whereas in Batman Begins we had several fantastical elements combining to create a tone of reality being reinforced, here we have a story perhaps somewhat lower on the luridity scale, but nevertheless conveying the impression that this time, this time for real, everything has just gotten all fucked up. I am tempted to invoke The Napoleon Of Notting Hill again, and its climactic inversion of reality and dream — because that’s what happens here. Things don’t return to normal. They just keep going.
It’s really good!
You should see it.
It’s the New Joker.