about three years ago when it opened in theaters Batman Begins, it seemed that the only superhero server that has been of interest ever return to the path of the track. It seemed a new movie, no connection with previous installments of the legendary character of Bob Kane, and although he was not under my own point of view, at the height of the two very great and aesthetic Tim Burton films, Batman and very underrated Batman Returns, if the character who managed to soar. Stripping the superhero more human, and therefore more interesting, par excellence, of all affectation, colorful aesthetic and stratospheric proportions nipples placed the terrible Joel Schumacher in his attempt to return to the pop of Adam West Batman, Nolan, interesting creator of atmospheres (I still wonder why they waited to have the freedom agenda to lead highway) but somewhat irregular on the top of his films, was able to place the tape in a more conventional visual level without It lost none of its dramatic force and beauty to focus more on the main character, his birth and his iconic creation, although it is true that when all else failed, ironically, Batman appeared on the scene. Mattered more sequences of Bruce Wayne, his inner journey in Asia and his personal struggle against his inner demons that the struggle against crime and against, why not, some enemies really poor, from gangsters to a Scarecrow without sufficient substance to stand up to a whole Batman masterfully played by Christian Bale, in addition to the guest appearance of Liam Neeson as Ra's Al Ghul, with whom the work would have gained more power the dark appearance being so lackluster end result. It also served to mark what would become the great obsession of Nolan for the new Batman, the engine of this new saga: each is the accumulation of acts performed, what we do is what shapes us and leads us to be who we are and moving all around us, especially someone as important and influential as Bruce Wayne, a playboy with an alter ego that prevented him from leading a normal life. The Dark Knight corrects and enhances all benefits Batman Begins, in line with its predecessor sober and away from any theatrical or exaggerated staging as were his four predecessors, no trace of comics, we're not a movie where the bullets have no presence, since we are not a superhero with a code of ethics and moral puritanism and marked by the law do the right thing, but it we enter the mask and armor and explores the soul of bearing the symbol of the bat, and, like this, we study his nemesis, his arch nemesis, and arranging the large tare of its predecessor with the appearance of charismatic villain, thanks to the great Ledger's interpretation becomes one of the greatest villains in film history and stands as an equal with the bat man, who spends more here time trying to find himself and those around you and see the world in which they live and how this, that fighting against evil. It is therefore to find strengths and successes where others, like Sam Raimi, failed miserably, thanks to the courage of a Nolan can retire having reached its limit, his work peak, succeeding to be a perfect character study beyond be governed by mere chance and do what, according to social conventions are obliged to do, a masked crusader who doubt and fear what they do, that seeks to understand the reason for their actions and that is closer to the Dix Handley, Harry Callahan, Michael Corleone, Dave Bannion, Tom Stall Hannah Vincent and the Spiderman, Superman or Hulk three fourth, minor superheroes made solely to make the doll or video game of the day, putting the proposal closest to Nolan film Fincher , Fritz Lang, John Huston, Michael Mann, the post-Spider David Cronenberg, Coppola and Clint Eastwood that classic work and empty popping superhero movies, the young filmmaker PhD English as one of the greats of contemporary cinema and who knows if historical, but all that time will tell.
The choice of Nolan and David S. Goyer to divert tone of the film purely mainstream comic book genres to bring it more classic black, the police or the thriller is far from any doubt, the novelty and success and what separates it from the same starting point, any apparently their generic competitors. Within the deep and serious tone that takes the entire tape, the perfect combination of form and substance in the story based on the portentous script, which has only a few minor faults, it establishes a mature view of a character long ago left the fight for no reason and looking for an identity beyond the character, putting the person, and end up providing a visceral drama along the lines of any Greek tragedy, because the director does not flinch and never made a film of Nolan more than a comic book adaptation, imposing his style to the study, leaving him in the highest place possible. It is perfectly recognizable in writing, with a libretto by British director's taste. This constant game of twists and turns, these traps the viewer, making pinpoint building almost a mathematical equation, the amazing ability to stretch and again the invention without losing fluid or force, looping the loop to unexpected heights, and that taste for the thriller and the classic film noir characters disturbed situation in which the thin line that separates right from wrong is quite diffuse, and, unlike the recent unsuccessful The Prestige, Nolan is right here in each and every one of those brutal totally radical changes, and, Better yet, does not fail in the end, perfect and consistent with everything that has gone before, and crimp showing prodigiously with his speech about the duality of man. Beyond tracing the structure of the first delivery, which would have been quite likely in the hands of another, here we decide to start the story in the best way possible, presenting the first villain to change without notice, leaving clear what que va a ser todo lo que se avecina por delante: guerra sin cuartel y sin respiro a Batman y al espectador. Es el Joker quien reina con su psicótica forma de ser, con su anárquica concepción de la vida y con su gusto por el sadismo y la violencia de cualquier forma, disfrutando incluso cuando la recibe. Un villano de una profundidad psicológica que escasamente se ve en una pantalla grande, alejado del histriónico y bufonesco, aunque también genial, Joker burtoniano de Nicholson, y que vuelve a reiterar la diferencia entre ambos films: mientras allí había pomposidad y un aire un tanto superficial en el tratamiento de la historia, de una visión más cercana al cómic, aquí nos hayamos ante personajes nada amables, humorless, ironically co-star being a clown, and where what you weigh is the humanistic character of the script. Because the other great success is the writers is the perfect spider web that has been made to conform to the secondary characters come into the plot without being outside any time, from Rachel (thanks for making a decent character, Maggie Gyllenhaall after Cruise Lady necessary) Jim Gordon (Gary Oldman great), but where importance is the superb Harvey Dent played by an amazing Aaron Eckhart, whose introduction into the story seemed suspicious and difficult to justify but which ultimately gives rise to two triangles melodramatic about which turns the plot: Joker-Batman-Two Face, Dent, Bruce Wayne, Rachel, perhaps the essential contribution to deepen even more in the personality of the protagonist and his billionaire mixture of envy and admiration for the prosecutor who represents all it seems, the defense of right from the legality and respect and love that Batman never get people, and, with the appearance of Two-Face, shows what could become a defender of law that he will hand its work, creating another link between the superhero and a new character, shows the simultaneous game that we all have within us between good and evil, which would place him in the middle of the nefarious Joker personified evil beyond all reason, and Harvey's good, perhaps idealistic utopian goodness that checks how you can not defeat evil without a shred of malice within. This point is most interesting, Wayne exceeds anything within the legal limit and your task is challenged not only by people who begin to see him as a danger because of threats from the Joker, if not himself, and the young Wayne appearing at the beginning of Batman Begins is here someone who has assumed his role is not correct hero, if not the shield against the evils of society, wherever they come from and who begins to envision that the decisions made in the past have their reaction the present and it is impossible to change.
Although it may sound somewhat grandiose tape, The Dark Knight is never pretentious in its attempt to devise something philosophical and, at the same time, remove the hero away from any topic. The protagonist sees his idea of \u200b\u200bdefending good against evil comes just as the Joker acts of hostility. The death of their parents and the insecurity felt in Gotham made you want to be what it is today, and all that it has done in his life. The tipping point between choosing life or hero is determined, and Wayne throws away his life, down to the deepest abyss in the solitude of the antihero. And the shadow of the Joker is too long, and its influence on the young millionaire will not wait. Realistically achieve Ledger crazy, exasperated, a character who, as he says, is a mad dog, alienation personified, uncontrolled, chaos, and one wonders if the Australian actor's character was not too far and became part of himself and, unfortunately, this led him to what he took, although it is true that the building frenzy has led to film immortality, even more than Nolan or Bale. Its disturbing role overshadows the entire film, but does mute at no time, as has been said, a large Christian Bale, who writes a Batman for the remains, but he is the architect of the improvement of the tape with respect to the rather bland first delivery, and the Machiavellian plans of the Fool is the soul of the script and what , ultimately, provide the scientific construction almost all the gear, though, so contradictory, the Joker is the chaos and plan every step planned when, ironically, he himself said to act no more, and hates those who plan something. Perhaps one of the few and minor errors in the script, buried before the flood of emotions that are unleashed in the last half hour, reminding gauge tapes Godfather or Once Upon a Time in America , the final result simply marvelous, away from the coldness that often have this kind of movies so great and far from any improvisation. It seems that the script The Dark Knight, in a few years will be studied in schools as is done today with that of Godfather, Lawrence of Arabia , Citizen Kane, Network Casablanca or, as his brother Jonathan Nolan and simply get something unheard of for perfection with which embroider each sequence, the dialogue full of depth and the constant feeling that every word that being said, each frame we see, and every step that each character has been studied by a group of purists. As in the first half, the play ends with a great sequence showing the behavior of the mass to something unexpected, the fear that spreads like wildfire when something does not go as expected, and that something is the character Ledger. He brings chaos to a metropolis, a single person, as if a butterfly flapping it were, is able to change the course of the lives of several million people, which is why throughout the tape will not stop terrorist continually call , whose macabre game takes everyone, including Batman, the edge of chaos, achieving its purpose, the state of siege and almost almost martial law. It is perhaps time that the epic has reached its zenith, the whole house of cards has led to this point, the exact moment he wanted Nolan, one where placed facing the two world views, the natural evolution of the tape Begins born when that came about as the eccentricity of a guy with a lot of money and hateful at the end acquires its meaning and understanding by all that this has been done and should do to see corruption has led his opponent in the fight against this and Two-Face, the perfect knight of justice became a puppet led by a madman with war paint. The final catharsis beyond Bruce Wayne Batman, the assumption of responsibilities that asks the people, and the flight of the martyr in his eternal, thankless struggle of those who do not understand their task, wandering the dark path so that everything remains as before, where normal people Gotham refloating whoever beyond the actions of an anonymous person to outlaw whose actions can be misinterpreted, as happens with the wife of Gordon, or when the mob he criticizes the appearance of the Joker when he had before as the guardian of the city and good manners in a purely altruistic towards perhaps a new identity that circumvented once and for all Batman and allowing it to be individual rather than monster have a life beyond being a freak in the evening he plans to seek another freak, and have no regrets over losses have been caused by a decision from the heart without talking to the head, but for himself knows that his way, like the samurai, is marked and is to be alone forever, as decided when given the opportunity to change.
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