Batman Is Back — TIME Reviews The Dark Knight

There’s a beautiful high-angle shot, early in The Dark Knight, that looks down on Bruce Wayne (Christian Bale) in full Batman regalia as he perches atop a Gotham skyscraper, surveying the city he lives to protect, then leaping off and spreading his majestic bat wings to swoop down into the night. Bruce’s trajectory is also the film’s. It traces a descent into moral anarchy, and each of its major characters will hit bottom. Some will never recover, broken by the touch of evil or by finding it, like a fatal infection, in themselves. The Dark Knight, Christopher Nolan’s second chapter in his revival of the DC Comics franchise, will hit theaters with all the hoopla and fanboy avidity of the summer season’s earlier movies based on comic books. It’s the fifth, and three of the first four (Iron Man, Wanted and Hellboy II) have been terrific or just short of it. (The Incredible Hulk: not so hot.) It’s been one of the best summers in memory for flat-out blockbuster entertainment, and in the wow category, the Nolan film doesn’t disappoint. True to format, it has a crusading hero, a sneering villain in Heath Ledger’s Joker, spectacular chases — including one with Batman on a stripped-down Batmobile that becomes a motorcycle with monster-truck wheels — and lots of stuff blowing up. Even the tie-in action figures with Reese’s Pieces suggest this is a fast-food movie.

 

But Nolan has a more subversive agenda. He wants viewers to stick their hands down the rat hole of evil and see if they get bitten. With little humor to break the tension, The Dark Knight is beyond dark. It’s as black — and teeming and toxic — as the mind of the Joker. Batman Begins, the 2005 film that launched Nolan’s series, was a mere five-finger exercise. This is the full symphony.

 

 

A Better Class of Criminal
Gotham has a new white knight: a fearless district attorney, Harvey Dent (Aaron Eckhart), who’s determined to nab malefactors through the law with the same gusto that Batman, the dark knight, applies using his gadgets and charisma. The Mob (led by Eric Roberts) they can handle, with the help of stalwart police lieutenant James Gordon (Gary Oldman). But the Joker — this guy is nuts. He does deals with the Mob, then crosses them up. He makes a point with his pencil by ramming it into a gangster’s head. “This town,” he says, “deserves a better class of criminals.” So do action movies, and here he is, vowing to bring down Batman and Dent, just for the mad fun of it.

In its rethinking and transcending of a schlock source, The Dark Knight is up there with David Cronenberg’s 1986 version of The Fly. It turns pulp into dark poetry. Just as that movie found metaphors of cancer, AIDS and death in the story of a man devolving into an insect, so this one plumbs the nature of identity. Who are we? Has Bruce lost himself in the myth of the hero? Is his Batman persona a mission or an affliction? Can crusading Dent live down the nickname (Two-Face) some rancorous cops have pinned on him? Only the Joker seems unconflicted. He knows what he is: an “agent of chaos.” Your worst nightmare.

No, really. This villain, as conceived by Nolan and his scriptwriter brother Jonathan and incarnated with chilling authority by Ledger, is not the elegant sadist of so many action films, nor the strutting showman played by Jack Nicholson in Tim Burton’s 1989 Batman. He isn’t a father figure or a macho man. And though he invents several stories about how he got his (facial and psychic) scars, he’s not presented as the sum of injustices done to him. This Joker is simply one of the most twisted and mesmerizing creeps in movie history.

And the actor, who died in January at 28 of an accidental prescription-drug overdose, is magnificent. Echoing the sly psychopathy and scary singsong voice of Anthony Hopkins in The Silence of the Lambs (Hannibal Ledger!), Ledger carries in him the deranged threat of a punk star like Sid Vicious, whom he supposedly took as one of the models for his character. The Joker observes no rules, pursues no grand scheme; he’s the terrorist as improv artist. Evil is his tenor sax, Armageddon his melody. Why, he might blow up a hospital or turn ordinary people into mass murderers to save their own lives.

The Joker may be insane, but he’s a shrewd judge of character. He knows that Batman has two vulnerable spots: his girlfriend Rachel Dawes (Maggie Gyllenhaal, assuming the role Katie Holmes had in the first film) and his hidden identity. So the Joker starts preying on Rachel, and he says he’ll stop terrorizing Gotham if Batman will come out from under the mask. A modest request from the bin Laden of movie villains, yet Bruce is reluctant. Or rather, the film is, since the informing principle of any franchise is perpetuation of the series. No secret, no Batman — just a moneybags with a Messiah complex.

The other would-be hero on a downward spiral is the district attorney. He’s brave and ballsy enough to fight the Mob and the Joker, but when a tragedy makes his guilt roil, Dent gets bent. Old Two-Face has a mission of his own, and like the Joker, he can be a one-man plague — but with some of the poignance of classic tragedy.

 

 

Free Fall to Destiny
The mayhem and torture wreaked here, by saint or scum, are so vivid and persistent that it’s a wonder, and a puzzle, why The Dark Knight snagged a PG-13 rating. (Don’t take your 9-year-old son unless you think he’d enjoy seeing a kid just like him tremble in fear while a gun is held to his head by a previously sympathetic character.) But kids would have trouble following the movie, let alone understanding it. For teens and adults, it’s a strap-yourselves-in trip, handsome and assured as only a big-budget picture can be. (Part of it was shot in the IMAX process, which lends the action scenes a startling clarity and depth.) And for reassurance, Nolan brings back old friends from Batman Begins: Michael Caine as Bruce’s butler Alfred and Morgan Freeman as Fox, who takes care of Bruce’s toys.

Actually, they’re just diversions from the epochal face-off of Bruce and the Joker. For a good part of the film, when the two embrace in a free fall of souls — one doomed, the other imperiled — you may think you’re in the grip of a mordant masterpiece. That feeling will pass, as the film spends too many of its final moments setting up the series’ third installment. The chill will linger, though. The Dark Knight is bound to haunt you long after you’ve told yourself, Aah, it’s only a comic-book movie. (Reprinted from TIME)

 

 

 

The Muppets Take Washington

Bert and Ernie are paying a special visit to the city that helped give birth to the “Sesame Street” gang.

 

Kermit the Frog will be part of an exhibit, “Jim Henson’s Fantastic World,” at the Smithsonian Institution.

 

But don’t expect to see the popular puppets strolling around Washington. Their fame and age (they’re sensitive to light) make too much exposure a security risk. Instead, they will be making their home, at least temporarily, in the underground International Gallery at the Smithsonian Institution as part of the exhibit “Jim Henson’s Fantastic World.”

 

Visitors to the show, which opens Saturday and continues through Oct. 5, will find the Muppets under special lighting, behind glass and closely guarded.

 

“We consider every single thing in here to be precious,” said project director Deborah Macanic. Technically speaking, they’re all antiques.

 

It’s a homecoming for Muppets such as Kermit, the piano-playing dog Rowlf and others that first achieved stardom on Washington-area television shows and commercials — long before the success of “The Muppet Show” and “Sesame Street.” Muppets creator Jim Henson grew up in nearby Hyattsville, Maryland, and attended the University of Maryland, where his creative approach began to take shape.

 

“We’re showing how he went from drawing to a cartoon to a puppet to a moving image,” Macanic said, explaining the exhibit’s themes of visual thinking, storytelling and character development.

 

Through more than 100 original drawings, cartoons and story boards and about 14 famous Muppets, the exhibit traces Henson’s career as a puppeteer and filmmaker until his death in 1990.

 

Henson got his television start in 1954, creating a TV show, “Sam and Friends,” for Washington’s NBC station while still in college. Kermit the Frog’s character began developing from this show and later became a superstar.

 

The exhibit features one of the earliest sketches of Kermit, and a 1970s version of the puppet sits front and center to greet visitors near the entrance of the International Gallery, which is part of the Smithsonian’s Ripley Center.

 

Kermit was originally conceived as a more abstract reptile character with less defined features. The original puppet was made in 1955 from an old turquoise coat with eyes made from a pingpong ball. Kermit continued to evolve from there to a frog in the 1960s.

 

“Then Kermit just kind of took over and became the news (reporter) guy with the hat and the trench coat and all that he was by the time he got to Sesame Street,” Macanic said.

The skinny, green frog became the most enduring Muppet character, in part because Jim Henson considered Kermit to be his alter-ego.

 

Henson’s personality shines through other characters as well, such as the furry, hippie Mahna Mahna who sings scat to a jazz song with two backup singers called the Snowths. The skit debuted in 1969 on “The Ed Sullivan Show,” with Henson performing the gruff voice of Mahna Mahna.

 

A few days before the exhibit’s opening, the three singers emerged from a wooden storage crate — all in need of a little primping. Josette Cole and Viki Possoff, Smithsonian exhibit registrars, carefully fluffed the pink Snowth puppets and twisted an arm to match a dance pose from a photograph.

 

“There’s a whole technique to it,” Cole said. “You use a dog brush, for one, and you don’t pull it through the hair because you’ll pull it off. You sort of have to pat it in place.”

Bert and Ernie were unpacked after the Snowths, apparently needing some extra rest after their last public appearance in June in Louisiana.

 

Museum workers are becoming experts in Muppet care as the exhibit makes a three-year tour. After the show in Washington, the Muppets will travel to Atlanta, Georgia; Orlando, Florida and five other cities through early 2011. The Smithsonian’s experts escort their Muppet treasures by tractor-trailer, tending to them at each stop.

 

The exhibit anchors a Muppet-themed summer of events at the Smithsonian and elsewhere in the Washington area. Through much of July and August, the AFI Silver Theatre in Silver Spring, Maryland, will host the film series “Muppets, Music and Magic: Jim Henson’s Legacy” as a tribute to Henson’s work. There will also be programs on puppetry and free Podcast tours.

 

The only thing missing from the Muppet festival may be the elegant Miss Piggy, who aggressively flirted with Kermit. Miss Piggy will show up in film only, but her puppet isn’t available. Apparently, the materials used to create Miss Piggy weren’t as sturdy for travel as Kermit’s, said Karen Falk, an archivist with The Jim Henson Co. who curated the exhibit.

“As you might expect,” said Falk, “she’s more sensitive.”  (Reprinted from Time)

 

Limited Edition Beatles iPod Coming to Bloomingdales?

Though the Beatles‘ music remains unavailable on iTunes, Bloomingdales may play host to the first official meeting of the Fab Four and Steve Jobs’ device. The department store has acquired the rights to Beatles images from Apple Records and will produce a series of T-shirts, jackets and accessories that bear images from posters and album artwork. But the big news is that they will also produce a limited-edition Beatles iPod stocked with every song in the band’s catalog. Only 100 will be made available, so consider it the ultimate rock & roll fetish item when the line launches this holiday season.  This could be a sign that we are getting closer to the Beatles finally releasing their catalog on iTunes.

Ricky Gervais Tapes HBO Comedy Special

When the funniest man in England took over Madison Square Garden earlier this month, HBO was on hand to tape the concert. In November, Ricky Gervais, original star and co-creator of The Office, will trot out his first televised stab at stand-up comedy.

 

At a Thursday press tour session organized by the Television Critics Association, Gervais told reporters that he assumes the persona of a “brash, ignorant, right-wing character” in the comedy special.

 

“I don’t really do gags,” he said. “It’s quite anecdotal and more about flights of fancy. I want to keep doing stand-up because I’m just starting to get good at it and I like the romance of it. It’s the last bastion of no censorship.”

 

In a sneak preview, Gervais struts onstage wearing a crown and red cape, then mocks obesity as an illness, bemoans the unfairness of defining Captain Hook by his disability and challenges the audience: “What are you going to do next, call Stephen Hawking ‘Dr. Chair’?”

 

Asked about his influences, Gervais said: “They’re all Americans, going back to Laurel and Hardy 100 years ago. They understood that you have to create empathy. I don’t care if you have the best lines in the world, you have to like the guy. Adolph Hitler had some good lines. Never liked him.”

 

Gervais said he’s not particularly surprised that the American version of The Office has flourished. Downplaying differences between Yankee and English humor, Gervais noted, “I suppose you could say that British like the underdog more. You guys like winners.”