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Before starting this article I would just like you to note that any sociological observation that may arise, will be firmly of the “cod” variety.  I say this, as not to confuse anyone that I have ever properly researched anything, ever.  Newspaper supplements seem to support this practice by classifying such pieces as, “Comment”, which is my excuse.

So-any-way onto The Dark Night.  Firstly, rejoice and raise arms in celebration! Heath is immense!  For what would be (and now is) one of the most analysed and thawed over performances ever, he ticks all of the boxes that anticipation, and hype of a film rarely can.  Through the progression of the film his character grows ever more sinister, ruthless and sophisticated.  So much so that I left the cinema in awe of the baddey instead of the hero, a surprising and welcoming contradiction to most action/superhero films.

Having said this, one characteristic of the genre that this film fails to challenge is that of the false-ending non-twist.  A method of increasing the length of the film until you are too desensitised to care about what dull, pompous ending they’ve come up with, and just leave thankful that you haven’t suffered deep vain thrombosis. The Dark Night actually goes one better,  effectively sticking two films together with so many could be finales that I lost count.  However, the fast plot, plus a welcome cameo from Ted Danson as the second half of Two Face, means that you actually feel ashamedly pleased when the perfect ending is again swiped away, even if it does mean another 30 minutes of Batman’s camp smoker voice.

So a film that is despised by the hype-haters, but loved by pretty much everyone else.  It is worth watching in the cinema just to witness Heath Ledger in the presence of so many others, all (probably) feeling the same excitement, sadness and spookiness that his song-swan provides.  It’s like the greatest funeral ever. 

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Copyright (C) 2007 Alain Georgette / Copyright (C) 2006 Frantisek Hliva. All rights reserved.