The Dark Knight
Charting wildly off-course during the 90s with outlandish fantasy, the Batman franchise seemed doomed. Director Christopher Nolan became its saviour by
re-inventing the character for a new century by drawing inspiration from Frank Miller’s groundbreaking ‘Batman: Year One’ series. Crafting a tale in tune with Miller’s gritty realism, Nolan successfully balanced the usual action trappings with engaging psychological drama. The Dark Knight furthers this trend with Alan Moore’s ‘The Killing Joke’ providing an early impetus in a story exploring the price paid for being a true hero.
Continuing his fight for justice in Gotham City, Batman (Christian Bale) faces a new enemy. Ghoulishly attired in ragged make up, The Joker (Heath Ledger) is
hell-bent on causing anarchy. Teaming with the city’s mob bosses, he aims to destroy the people’s belief in their supposed incorruptible guardians. Creating several inhumane traps to rattle the zeal of Batman and District Attorney Harvey Dent (Aaron Eckhart), The Joker delights in his escapades. Confronting a madman who lives by no rules, Batman grapples with another unseen threat striking at the very soul of his beloved city.
Like many modern superhero movies The Dark Knight offers some substance amidst the mayhem. Although his acts of carnage cause great turmoil, The Joker’s attempted removal of faith in the judicial system becomes a far darker act. Harvey Dent becomes the central pivot between The Joker and Batman as his heroic image gives people someone to look up to. These elements whilst blending well within the fantastic action sequences at times seem to leaden the dense script with its heavy handiness. The thumping urgency of Batman Begins is replaced by a minor lethargy extending to the under-use of its supporting players. Nolans’ fascination with his admittedly great main trio seems to have come at the expense of genuine character development diluting the film’s overall impact.
Despite minor script issues, the film is graced with a fine cast. Bale easily slips into his twin roles as Bruce Wayne/Batman capably showing his renowned acting range. Like Cesar Romero and Jack Nicholson before him, Heath Ledger’s obvious delight in portraying the demented jester is evident. Expertly nailing his role, his scraggly psychopath projects a real sense of menacing danger. Eckhart delivers a fine performance of someone resisting the forces of dark with determined gusto. Gary Oldman, Michael Caine and Morgan Freeman again appear in their usual comforting roles, although the later two sadly don’t get much to do this time. The production design and stunts are very well realised, mirroring the film’s ‘quality at any cost’ mantra.
More of a crime noir than superhero film, The Dark Knight’s interesting screenplay becomes burdened by its massive running time. Filled with memorable imagery and great performances, more care could have been used on editing a film taking too long to get to its main point. Just in time for his 70th anniversary next year, this mostly solidly entertaining film reminds that the cape crusader’s ability to survive many interpretations can be a superheroic feat itself.
Rating out of 10: 8
Mamma Mia!
This decade has seen a resurgence in the ‘jukebox musical’ genre. Basing a play around a smattering of hit pop songs, these stage extravaganzas have become box office bonanzas. Mamma Mia! has been the biggest of these, beginning a trend since its opening nine years ago. Using ABBA’s extensive music catalogue, the play makes a successful leap into cinemas in a delightful and fun package.
On a Greek island, about to be married Sophie (Amanda Seyfried) posts an invitation to three unsuspecting men. Determined to discover which of them is her father, she has to choose between Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgard). Having had a Summer liaison with her mother Donna (Meryl Streep), the men hold the key to providing a perfect wedding for Sophie. Donna is less than amused to meet them, leading to a surprising denouncement that will change both women’s lives forever.
Mamma Mia! is one of those films providing perfect escapism from beginning to end. Swanning about on a Greek island singing ABBA songs, the cast have a grand time which is thankfully transferred to screen. The amazing thing is how well each song fits into each scene. Carefully selected, their seamless integration extends the narrative creating a complete experience. The film-makers have been quite daring in excluding some of the more well known tunes, showing their courage in not simply shoe-horning every hit just for the sake of it. The story’s theme of living life almost reflects an ABBA song, adding genuine pathos to proceedings. Wisely keeping the songs’ lyrical structure intact, their impact is further refreshed by the lush orchestration and energetic performances.
The cast all do a superb job doing justice to the music. Meryl Streep brings plenty of gusto and passion, which is more than matched by her fellow co-stars. Whilst some singing performances are better than others, their interpretation of the songs are still enjoyable. The stand outs of the supporting cast are Julie Walters and Christine Baranski as Donna’s friends who gleefully dive into the many comedy of errors within. Importantly although the cast have fun, the songs are still treated with respect aided by a literal Greek chorus. The scenery is stunningly photographed, breaking the story’s stage origins into the exotic open surrounds. The choreography and musical numbers are dynamically staged, capturing the carefree exuberance of the music.
Musicals like these have their detractors, although Mamma Mia! is certainly the best of them. With cameo appearances by ABBA’s Benny and Bjorn, this very entertaining and enthusiastically delivered romp should delight the most eager of dancing queens.
Rating out of 10: 9