(it. Batman - The Dark Knight) color, USA / Hong Kong, 2008 , Christopher Nolan
Length: 152 min .
Genre: fantastic
Cast: Christian Bale (Bruce Wayne / Batman), Heath Ledger (The Joker) , Gary Oldman (Lieutenant James "Jim" Gordon), Aaron Eckhart (Harvey Dent / Two-Face), Maggie Gyllenhall (Rachel Dawes), Michael Caine (Alfred Pennyworth), Morgan Freeman (Lucius Fox), Eric Roberts (Maroni)
Music: Hans Zimmer, James Newton Howard
Editor: Lee Smith
Distribution: Warner Bros
I have not read many reviews of the last Christopher Nolan - why "The Dark Knight" is a film by Christopher Nolan, Batman on that one - just to be as impartial as possible, given my emotional about every work of Nolan. Entries are still coming, but I will try to disregard it. Already
immediately dall'incipit is understood that the hand behind the director is one of the last men
able to dream again on the big screen, to recreate a healthy taste of waiting after the enervating trailer, before the lights to come down into the total darkness of the room. You do not hear music triumph, nor that almost necessary aesthetic hedonism that permeates every film work devoted to represent the world media on a different superhero. No. .. This film begins quietly, almost softly, so as to create doubts about the goodness of man at the controls behind the wall from which the sound is projected.
a robbery. And how better starts a new chapter that will see Gotham overrun by a new wave of crime, feelings of hate, that by dark forces of darkness have only the twisted vision of the world ... no superpowers, this time, nothing out of ordinary things ... no, just the raw, violent, powerful force of human drives, pushed to the limit, beyond the limit. And the classic
robbery, crime, the starting point of any crime movie, it reveals the nature of this: yes, a detective, but atypical, precarious balance that relates between justice and crime, between right and wrong, or better, morally right and morally wrong, between those who are conscious of crossing the limit beyond which it is not easy to come back and who does it without realizing it. The robbery
surprising, for the way it is done, for the logical grounds for the chaotic freddeza plan behind it. And especially for those who are robbed.
And it soon becomes clear that behind the clown mask is not nothing but a clown, because we are the mask he wears, and this is the concept that underlies every kind of representation of the concept of superhero comics, which of course it also translates to the screen.
E 'here shows that in particular the core of film, through the knowledge of good and evil and the ability to recognize and distinguish or be confused by them: it is the Joker,
the twisted soul of this ballet of balance, which is unbalanced, which is chaotic and distorts every thing. It 's the total subversion that Christopher and Jonathan Nolan have worked long and intermibabile list of "bad" to cinema - a revolution that extends to other types of narrative, I daresay.
The Joker, whose human nature is rooted in the traditions and ancient mythology, is the trickster , being devoid of reason, the deceiver, what is the most feared man in every age, or betrayal, they can not fidare, l'impossibilità della logica, il non potersi fidare, dormire sonni tranquilli. E' l'ombra di Loki, della mitologia nordica, di Iktomi - il demone degli inganni - di quella Sioux, Anansi della cultura africana, un essere fatto d'ebbrezza, come Dioniso, incontrollabile, fuori da ogni moralità, e superiore per questo agli uomini che ne sono schiavi. E' un archetipo jungiano tra i più curiosi, è un essere da studiare, per capire le nostre paure.
Così è il Joker dei fratelli Nolan, folle, di una follia pura, che a volte vien voglia di cogliere, per liberarsi dai vincoli, per essere veramente liberi, come disse una volta qualcuno. E' questo il Joker, la sua vera anima, la sua vera essenza, la non-ragione, il non-essere. Ricorrente in lui è la storiella di come si è fatto le cicatrici che lo sfigurano in volto, dandogli quel tocco di "Uomo che ride" di Hugo, quel Gwynplaine dal quale giustamente è stato partorito per partenogenesi: è toccante la prima volta, rivelatrice la seconda, quando si capisce che sono entrambe false. Il Joker così non spiega la natura delle sue psicosi, non rivela nulla della sua mente, non ci mostra i suoi traumi infantili, a noi psicologi ormai improvvisati grazie a serie televisive e film che ce lo permettono. Il Joker, semplicemente, esiste al di là di ogni nostra capacità di comprensione, non ha identità - si cuce i vestiti da solo, le sue impronte digitali non portano a nulla, come il ladro di gems of wisdom story of Alfred - is not anything or anyone beyond his mask. There's nothing under that mask, he is his mask.
The Joker simply exists, and we find ourselves puzzled, because it is evil incarnate and deception, without explanation, no reason that could justify the actions, with no easy diagnosis. And then, chiediamocelo, why would anyone give us an explanation for the simple fact that it exists?
His concept of chaos goes beyond the ordinary madness of Nicholson, with his rhyme in the Burton film "Have you ever danced with the devil in the pale moonlight?". Here, Heath Ledger, who delivers to the legend his face and his name, with this monolithic interpretation, he founded a new concept of madness ... madness madness of being glossy.
Joker makes no sense, and he also understands when Batman confronts him with violence ... and his words hit him "all your strength is not needed here" ... because the power of the Joker in his head is fragmented, unpredictable in his ego, without reason, but can have only the minimum they need to go back to being free to be unreasonable.
And so, the trickster returns to its former glory by the mists of mythology and human culture, even to displace, to make the viewer uncertain, to terrorize with his endless nonsense.
All played on the balance, "The Dark Knight" also talks about the nuances of the border. Harvey Dent, spectacularly played by Aaron Eckhart, is the protagonist of many scenes in the eternal dance between crime and legality. It clears out the classrooms, clean up the streets, criticizes the methods of cleaning, even if it is ready to use them when the dirt goes beyond the confines of its enclosure. Dent is here at 90% as Dent, and not as showy and disastrous in Schumacher's film, which is always the opposite - the classic mistake of those who does not understand the depth of evil is treated as the philosophy of the visionaries behind Gotham, or to prevail on the person's character. For Dent, in total opposition to the Joker, you need an introduction, to understand the nature, the reasons to enjoy all the slow and agonizing fall in the uncomfortable role of Two-Face.
Harvey Two-Face, as he was called in the police station in the days when he militated in the specification. And so it becomes a two-headed monster, a Janus, a serving Justice of its own, an administrator with the same force that fought. Two-Face is the darkest shadow that is thrown when the bright light of Harvey Dent is confronted by the tragic reality of the world has chosen to live. Dent is a fundamental presence here, the second of the two sides of the film, and the whole construction of his rivals that of the Joker character, immense presence that threatens to obscure it. The detail of the coin, key, viene qui rivelato ironicamente come uno stratagemma che Dent usa per controllare il caso, o meglio, il caos, che invece il Joker vuole sguinzagliare. Ed è ironico ancora una volta che, a metamorfosi avvenuta, Due Facce adesso ha rimesso ordine nel caos, diversificando le due facce della moneta, sicchè è di nuovo possibile che essa possa decidere imparzialmente, senza che vincoli morali possano legarle le mani, come innaturalmente ha cercato di fare Dent, opponendosi al flusso naturale delle cose.
E' un messaggio forte anche questo. Dent cade perchè troppo grande e illuminato per essere seguito da meri mortali, quali sono i poliziotti corrotti sotto il comando dell'ignaro Gordon, che fuy avvisato da un monito dello stesso Dent riguardo their morality. Weak links in a chain of all human, to be redeemed by the choices made by people at the end of the film, by which time the Joker seemed to reveal a pattern of mass insanity ready to shoot at any sign of weakness of the social structure of the unjust nature of the world that is hostile to human destiny.
Batman and Bruce Wayne are just two characters aside here, contrary to what they were in the first chapter of the new series, used to make us understand his reasons. Here he is the only force opposing the tide of events that sweep the viewer, in a string of surprises and exciting scenes. Batman is called upon to make the ultimate sacrifice in the end, not is to lose one's life, but rather to lose their identity, not so much by himself - as is now aware of what is and what he must do - but with others. He decides to take the dark path of those who struggle and is not paid, those who fight without being recognized, who does not do good for himself but because it must be done quietly, systematically, without thinking twice.
He transcends borders and is afraid of when it is brought on to the pitch of the Joker, who manipulates constantly throughout the film until the end, when the deception is revealed. But only half, of course, as the duality of the film needed.
We assist in the preparation of the third chapter, where Ledger is now no longer present - an idea that grew Nolan certainly make it an embodiment of the thorn in the side of Batman, as it should be: "We two are destined to fight forever" says the final scene, because he does not make sense in existing without a Batman to fight it and then give way to being what it is. The explosion of
Tumbler bears the marks of the birth of a more canonical future batmobile, Rachel's death is certainly a necessary prerequisite to a new female presence near Wayne, possibly Celina Catwoman. Gordon And, finally, he deserves his white hair by the Commissioner, the representative the largest category of its gal.
The excessive duration of the film is by no means excessive. It seems a dead end after the second time, when everything slows down almost to a stop ... but it is not necessary that the relaxation before the rope is pulled again with more force. A complex and layered film, with dozens of keys, bound by a remarkable detective story, which inevitably makes the most complex and mature film of its kind, indeed, even allows him to transcend the boundaries of its kind. So, as un'emblema of its nature, the entire history of crossing boundaries, marking the complete fidelity to the main message she wants to lead us.
Nolan signature work epoch-making, which moves at a pace personally marked, free of excess, perhaps too much for the target to which these features are usually directed and certainly beyond anything ever done in this regard. The tension is constant throughout the film and there are very few moments of relaxation, the apparent haven of peace, useful only to generate a strong contrast. The concern is continuous, oppressive, because the threat of madness, the unexpected, makes it unstable. You are no longer sure of anything, and often right in this, because it is chaos here that we wanted to represent. For this reason, all the cliches are forgotten, in the film in amounts so small as to be irrelevant, can completely transform American art to create a story on the big screen, and then bring up this incomprehensible to most confusing.
should be given away to the legend of cinema was dying a memorable scene, almost all with the Joker as a protagonist. His is the scene when, dressed as a nurse, stumbles out of the hospital, while it implodes and collapses on itself, and is upset because he does not want the last charge of exploding, even his memorable speeches in Dent hospital, the nature of chaos leveling, and Batman at the 'interrogation. " Unforgettable its system to clear the pencils. Some very good
scenes with Gordon are to be reported, such as the arrest of the mafia in the restaurant.
But this is a film in layers, like onion a bitter cry, to be studied, viewed and revised, full of inspired touches of class lighting. It should be enjoyed in its stock yellowish (but sometimes blue), which conveys to noir as the first chapter, too obvious to be enjoyed in the characterization. Go asssaporata every scene, every shot, because of note ... and each bar between the characters, who can also poke fun at himself - words dancing on an approach of dialogue truly remarkable. Strongly on this point of view, the presence of two heavyweights like Morgan Freeman and Michael Caine, who can to break the tension but also to provide the right point of view of someone who has seen many things and knows what are the tricks of life.
Hans Zimmer and James Newton Howard, together are like Mohammed Ali and Foreman - hit hard and do well. The soundtrack is full of atmosphere, a veil of gloom descended on the whole affair, and departs from the usual superhero triumphant tune. E 'rather than a continuous live on the tension of the extraordinary, as is the case throughout the film.
But this is a film in layers, like onion a bitter cry, to be studied, viewed and revised, full of inspired touches of class lighting. It should be enjoyed in its stock yellowish (but sometimes blue), which conveys to noir as the first chapter, too obvious to be enjoyed in the characterization. Go asssaporata every scene, every shot, because of note ... and each bar between the characters, who can also poke fun at himself - words dancing on an approach of dialogue truly remarkable. Strongly on this point of view, the presence of two heavyweights like Morgan Freeman and Michael Caine, who can to break the tension but also to provide the right point of view of someone who has seen many things and knows what are the tricks of life.
Hans Zimmer and James Newton Howard, together are like Mohammed Ali and Foreman - hit hard and do well. The soundtrack is full of atmosphere, a veil of gloom descended on the whole affair, and departs from the usual superhero triumphant tune. E 'rather than a continuous live on the tension of the extraordinary, as is the case throughout the film.
Excellent incremental disturbing distortion of the instruments, during the scenes where the Joker is going to do something that we do not like, increasing the emotional tension to the breaking point. Perfect rhythm of storytelling musicale, che non mostra nessuna sbavatura, accompagnando le scene come un preciso meccanismo ad orologeria.
La scelta dei doppiatori italiani, a lungo criticata, è sicuramente opinabile ma non per questo sbagliata. Claudio Santamaria dà grande prova di sè, soprattutto nelle scene in cui opera come Batman. Le altre voci da segnalare sono sicuramente quelle di Aaron Eckart, di Gary Odlman, ma soprattutto la troppo criticata voce del Joker di Heath Ledger. Si tratta di quella di Adriano Giannini che, come ha giustamente fatto notare, fa del doppiaggio del Joker un affare di famiglia. Sito ufficiale del film e dell'edizione in dvd e bluray suo padre nei panni di Nicholson nei panni del Joker di una generazione fa, ora lui riprende il testimone, identity in this game successful. Her voice captures all the nuances of being a prey to emotional disturbances, which can not maintain a personality for more than ten seconds in a row. Impressive verve, considerable spectrum of emotions covered, URL furious scary, speaking softly and sweetly, the inevitable hysterical laughter. Giannini is perhaps not one hundred percent with the image of the young Joker, but that image makes it great and brings it back to him.
Awaiting the inevitable third installment, the remaining doubts about who will play the Joker, who will take up the scepter of inconvenient heir of Ledger ... in addition to the moral dilemmas raised by the film.
The choice remains emblematic of the sentence which would close this ideal stopover while tormented and twisted chapter or that doubt about what can happen "if the good survive long enough to become the villain."
La scelta dei doppiatori italiani, a lungo criticata, è sicuramente opinabile ma non per questo sbagliata. Claudio Santamaria dà grande prova di sè, soprattutto nelle scene in cui opera come Batman. Le altre voci da segnalare sono sicuramente quelle di Aaron Eckart, di Gary Odlman, ma soprattutto la troppo criticata voce del Joker di Heath Ledger. Si tratta di quella di Adriano Giannini che, come ha giustamente fatto notare, fa del doppiaggio del Joker un affare di famiglia. Sito ufficiale del film e dell'edizione in dvd e bluray suo padre nei panni di Nicholson nei panni del Joker di una generazione fa, ora lui riprende il testimone, identity in this game successful. Her voice captures all the nuances of being a prey to emotional disturbances, which can not maintain a personality for more than ten seconds in a row. Impressive verve, considerable spectrum of emotions covered, URL furious scary, speaking softly and sweetly, the inevitable hysterical laughter. Giannini is perhaps not one hundred percent with the image of the young Joker, but that image makes it great and brings it back to him.
Awaiting the inevitable third installment, the remaining doubts about who will play the Joker, who will take up the scepter of inconvenient heir of Ledger ... in addition to the moral dilemmas raised by the film.
The choice remains emblematic of the sentence which would close this ideal stopover while tormented and twisted chapter or that doubt about what can happen "if the good survive long enough to become the villain."
Links :
official website of the film and the edition on DVD and Bluray:
The Dark Knight Official Website
Genius cryptic site that looks and functions very similar to the one already created for Memento. To visit:
Site metanarrative, which takes the shape of a web site dedicated to the campaign of Harvey Dent:
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