The Pope of Greenwich Village

Based on the novel by Vincent Patrick, The Pope of Greenwich Village is the story of two cousins who decide to go into crime to help fund their dreams of owning and running a restaurant. Directed by Stuart Rosenberg and screenplay by Vincent Patrick, the film is an unconventional crime-drama that follows two men trying to do whatever they can to get money as well as go head-on into the world of crime. Starring Mickey Rourke, Eric Roberts, Darryl Hannah, Geraldine Page, Kenneth McMillan, Frank Vincent, M. Emmet Walsh, and Burt Young. The Pope of Greenwich Village is a witty and exhilarating film from Stuart Rosenberg.

The film follows two Italian-American cousins working and living at the Greenwich Village area of New York City as they dream of being successful and run their own restaurant where they go into the world to crime to fund that dream. It’s a film that is about two guys trying to do what they can yet they deal with so much adversity as well as the fact that one of them is a total screw-up and the other is cautious with a lot to deal with. Vincent Patrick’s screenplay explores the unique dynamic between Charlie (Mickey Rourke) and Paulie (Eric Roberts) as these two cousins who both want to succeed yet Charlie is someone that is trying to work hard and do things the right way. Paulie is a guy that likes to scheme and often put Charlie in trouble as the film begins with Charlie working as a maître d’ at a restaurant where Paulie is the waiter who gets Charlie in trouble and they both lose their job.

Paulie gets a tip about money stashed in a safe as he coerces Charlie to be involved as they’re joined by a locksmith/clock repairman in Barney (Kenneth McMillan) as their safecracker. The job succeeds except for an encounter with an undercover policeman (Jack Kehoe) that went wrong as Charlie then learns who the money belongs to which causes even more trouble. Adding to Charlie’s problems is that he is paying alimony to his ex-wife as they have a son and his girlfriend Diane (Daryl Hannah) is pregnant with his child as he is trying to do good things for her. Still, Charlie has a loyalty to Paulie which irks Diane since she knows that Paulie is an idiot and always find a way to mess things up. Even as Paulie would be confronted by hoods who work for the mobster Bed Bug Eddie (Burt Young) including Paulie’s Uncle Pete (Tony Musante) forcing Charlie to settle the matter.

Stuart Rosenberg’s direction does have bits of style yet much of it is straightforward as it is shot on location in New York City and in the Greenwich Village area with some of it shot in New Jersey. While Rosenberg would use a lot of wide shots that would create some unique compositions of the characters on a roof with certain city landmarks in the background. Much of the compositions Rosenberg creates are intimate with its close-ups and medium shots that includes a key meeting between detectives and the mother of the dead undercover officer as it’s a very chilling moment due to what happened to the undercover officer and his mother’s reaction. There are scenes of humor in the film yet much of it is dramatic with some stylish dialogue as it play into the environment of the film. Rosenberg’s direction also play into this world of the streets where it has its own rules and idea of justice as it’s something Charlie is fully aware of while Paulie is sort of ignorant about it thinking he can charm or bullshit his way out of a situation. The third act revolves around Paulie dealing with the consequences of who he stole the money from and the fallout of those consequences in which Charlie realizes what he has to do. Yet, there is a sense of conflict in Charlie in whether to help out someone that is family or to save himself. Overall, Rosenberg crafts a lively and engaging film about two cousins going to crime to fund their dream.

Cinematographer John Bailey does brilliant work with the film’s cinematography with the richness of some of the daytime exterior scenes as well as the usage of low-key lights for Bed Bug’s hideout in its interiors and the usage of lights for some of the scenes set at night. Editor Robert Brown does excellent work with the editing as it is largely straightforward to play into the drama and the few moments of suspense such as Paulie being confronted by his uncle. Production designer Paul Sylbert and set decorator George DeTitta Sr. do fantastic work with the look of the restaurant Charlie and Paulie work at in the film’s opening sequence as well as the former’s apartment and the place where Bed Bug works at.

Costume designer Joseph G. Aulisi does nice work with the costumes from the stylish suits that Charlie wears to some of the stylish clothes that Paulie wears. Sound mixer James Sabat does terrific work with the sound as it play into the atmosphere of some of the locations. The film’s music by Dave Grusin does amazing work with the film’s soundtrack as it’s a mixture of jazz and pop to play into the energy of Greenwich Village while music supervisor Harry V. Lojewski provide a fun soundtrack that mixes pop and jazz that include music from Frank Sinatra.

The casting by Bonnie Timmerman is superb as it feature some notable small roles from Joe Grifasi as Jimmy the Cheese Man, Philip Bosco as Paulie’s father, Val Avery and M. Emmet Walsh as a couple of detectives, Tony Musante as Paulie’s Uncle Pete, Jack Kehoe as the undercover detective Bunky, and Frank Vincent as Bed Bug’s crew chief. Geraldine Page is incredible in her brief two-scene performance as Bunky’s mother Mrs. Ritter as a woman who is wondering what her son is doing and later cope with the aftermath as it’s just a very powerful performance. Burt Young is fantastic as Bed Bug Eddie as a local mob hood who is trying to maintain some power in his turf while wanting to find out who stole his money. Kenneth McMillan is excellent as Barney as locksmith/clock repairman who helps Charlie and Paulie as their safecracker where he understand what is going on as well as becoming uneasy about who the money belonged to where he knows something is about to go wrong.

Daryl Hannah is brilliant as Diane as Charlie’s girlfriend who is concerned about what Charlie is doing as well as seeing if he can provide a future for both of them and their child that is on the way. Finally, there’s the duo of Mickey Rourke and Eric Roberts in phenomenal performances in their respective roles as the cousins Charlie and Paulie. Rourke provides a performance that is grounded while also having moments of anger and frustration into the obstacles he is given relating to his dreams of running his own restaurant and his relationship with Diane. Roberts’ performance is filled with charm and an energy that is insatiable to watch as someone that is often upbeat but also naïve about the ways of the world as Roberts is always fun to watch. Rourke and Roberts together have this chemistry that is powerful as well as having this sense of brotherhood as two guys who depend on each other no matter how fucked up one of them is.

The Pope of Greenwich Village is a remarkable film from Stuart Rosenberg that feature top-notch performances from Mickey Rourke and Eric Roberts. Along with its great supporting cast, riveting story, dazzling visuals, and a fun soundtrack, it’s a film that explore the folly of ambition and crime as well as two cousins trying to do whatever they can to reach their dream. In the end, The Pope of Greenwich Village is a sensational film from Stuart Rosenberg.

Stuart Rosenberg Films: (Murder Inc.) – (Question 7) – Cool Hand Luke - (The April Fools) – (Move (1970 film)) – (WUSA) – (Pocket Money) – (The Laughing Policeman) – (The Drowning Pool) – (Voyage of the Damned) – (Love and Bullets) – (The Amityville Horror) – (Brubaker) – (Let’s Get Harry) – (My Heroes Have Always Been Cowboys)

© thevoid99 2017

Star 80

Based on the Pulitzer Prize-winning Village Voice article Death of a Playmate by Teresa Carpenter, Star 80 is about the life and death of Playboy Playmate Dorothy Stratten who was set for stardom until she gains the jealousy of her husband/ manager Paul Snider. Written for the screen and directed by Bob Fosse, the film is a dramatic account into Stratten’s life as well as her tumultuous relationship with Snider as Dorothy Stratten is played by Mariel Hemingway and Eric Roberts in the role of Paul Snider. Also starring Cliff Robertson, Carroll Baker, Roger Rees, and David Clennon. Star 80 is a eerie yet entrancing film from Bob Fosse.

Dorothy Ruth Hoogstraten aka Dorothy Stratten was a young woman who had become the 1980 Playmate of the Year for Playboy magazine as she was due for stardom where she would appear in Peter Bogdanovich’s 1981 film They All Laughed. Instead, her life was cut short tragically at the age of 20 where she was killed by her husband/manager Paul Snider in a fit of rage and jealousy who would later kill himself. The film is about Stratten’s short life from how she was discovered by Snider and to the murder/suicide as it’s told in a unique narrative as it has Snider looking back while the narrative would cut back-and-forth in events during their life as well as various people including Stratten’s mother (Carroll Baker) and Playboy magazine founder Hugh Hefner (Cliff Robertson) being interviewed about Stratten and the events that led to her death. Bob Fosse’s script does take some dramatic liberties due to some legal issues as it relates to the real-life story where he wouldn’t be able to use the real names of Stratten’s family as well as Stratten and Snider’s neighbors at the home they shared in Los Angeles.

Another figure in Stratten’s life that is given liberties is the filmmaker Peter Bogdanovich where he isn’t mentioned in the film due to legal reasons. Instead, Fosse would create a fictionalized version of the character in Aram Nicholas (Roger Rees) who would be the filmmaker that falls for Stratten and offer a life without Snider’s control. The narrative does however create some unique development where Stratten would mature and be surrounded with people who really care about her as well as be aware of her husband’s behavior and plans. Snider’s development is just as interesting as this sleazy yet well-meaning guy who discovers Stratten at a Dairy Queen where he falls for her. Once she goes to Los Angeles and makes some connections, Snider becomes suspicious yet still has ambition. Unfortunately, his ideas for her and what he wants prove to be tasteless and low-class as he loses money and goes insane.

Fosse’s direction is definitely stylish not just in its usage of montages to play into Stratten’s rise as well as the numerous photos she took. It is also in the way he created different array of film styles ranging from the documentary to something more dramatic. Notably as he would maintain different visual styles in the way some of the scenes are presented where the interviews are very straightforward with a few stylish but eerie shots. The dramatic portions including a scenes where Stratten are interviewed do have a flair of style as it play into her rise to stardom. Fosse’s usage of close-ups and medium shots play into the intimacy in not just Stratten’s own observation of the world but also in the evolution of her relationship with Snider where it would eventually become toxic. Fosse would also use close-ups for a lot of the scenes set in Los Angeles with a few shots set in Vancouver as it play into the two different worlds these characters would encounter.

While Fosse would create something that is a play on the idea of fantasy vs. reality as it relates to Snider wants in the former, Fosse would an extra layer of realism for the film’s climax where the home that Stratten and Snider lived is the place where they actually lived in the final days of their lives. All of which plays into the tragedy as well as one man’s determination to keep this beautiful young woman no matter at what cost. Overall, Fosse creates an unsettling yet compelling film about the life and death of Dorothy Stratten.

Cinematographer Sven Nykvist does brilliant work with the film‘s cinematography from the colorful look of the sunny day locations in California as well as some of the lavish approach to lighting for some of the interiors including Stratten‘s photo shoots. Editor Alan Heim does excellent work with the editing as it is very stylish with usage of dissolves, jump-cuts and montages to play into the craziness of the Hollywood life that Stratten would encounter as well as some of the eerie moments involving Snider. Art directors Michael S. Bolton and Jack G. Taylor Jr., with set decorators Anne D. McCulley and Kimberly Richardson, do fantastic work with the look of the Playboy mansion‘s interiors as well as the apartment that Snider has in Vancouver.

Costume designer Albert Wolsky does amazing work with the costumes as it plays into the look of the late 70s where it is all about style as Stratten‘s look represents this air of innocence while Snider‘s choice of clothing fits perfectly with who he is. Sound editor Dan Sable does nice work with the sound to play into the atmosphere of the parties as well as some of the chilling moments at the film‘s climax. The film’s music by Ralph Burns is superb for its mixture of low-key orchestral music with some electronic music to play into the times while the soundtrack that featured music by the Village People, Billy Joel, Rod Stewart, Steppenwolf, Louie Prima, Shirley Goodman and Leonard Lee, and the Band.

The casting by Howard Feuer and Jeremy Ritzer is wonderful as it includes some notable small roles from Keenan Ivory Wayans as a comic, James Luisi as Hefner’s assistant, Stuart Damon as a TV actor that Snider talks to, Tina Willson as a Playboy Playmate, Keith Hefner as a photographer cheated out of a finder’s fee by Snider, Lisa Gordon as Dorothy’s sister Eileen (a fictionalized version of Louise Stratten), Kathryn Witt as Stratten/Snider’s neighbor Robin, Josh Mostel as a private detective Snider hires late in the film, and David Clennon as a neighbor of Stratten/Snider who befriends them only to be wary of Snider’s troubled behavior. As a fictionalized version of filmmaker Peter Bogdanovich in the form of Aram Nicholas, Roger Rees is excellent as this filmmaker who falls for Stratten as well as being nurturing to her growing talents as an actress and being the man who wants to help her. Cliff Robertson is brilliant as Hugh Hefner as the man who founded Playboy as he sees something more in Stratten where he would be a fraternal figure of sorts for her while being very suspicious towards Snider.

Carroll Baker is amazing as Stratten’s mother who is suspicious about what Snider wants to do as she isn’t really charmed by him while she is also aghast in how he stole Stratten from her. Mariel Hemingway is remarkable as Dorothy Stratten as this young and beautiful woman who finds herself becoming a star where Hemingway displays an air of innocence to the character as well as someone who would grow up knowing that something isn’t right about Snider. Finally, there’s Eric Roberts in an incredible performance as Paul Snider as he exudes the sleaziness of the character in the way he looks and acts but also has a charm that is engaging where it would morph into something very dark in its anguish and torment where Roberts really creates something that is very scary to watch.

Star 80 is a marvelous film from Bob Fosse that features great performances fro Eric Roberts and Mariel Hemingway. It’s a film that doesn’t just explore not just some of the darker aspects of obsession but also tragedy in the form of a real life story of the murder suicide of Dorothy Stratten and Paul Snider. In the end, Star 80 is a brilliant film from Bob Fosse.

Bob Fosse Films: Sweet Charity - Cabaret - Liza with a Z - Lenny - All That Jazz - The Auteurs #56: Bob Fosse

© thevoid99 2016

Inherent Vice

Based on the novel by Thomas Pynchon, Inherent Vice is the story of a private investigator who is asked by a former flame to investigate the disappearance of her boyfriend as he goes into a wild and crazy adventure in 1970 Los Angeles. Written for the screen and directed by Paul Thomas Anderson, the film is a mystery-comedy that is set during the Charles Manson trials in a transition period from the 1960s to the 1970s as a man is taking on different cases in a world that is very chaotic. Starring Joaquin Phoenix, Josh Brolin, Reese Witherspoon, Benicio del Toro, Katherine Waterston, Owen Wilson, Jena Malone, Martin Short, Sasha Pieterse, Joanna Newsom, Jeannie Berlin, Maya Rudolph, Serena Scott Thomas, Martin Donovan, Michael K. Williams, and Eric Roberts. Inherent Vice is an off-the-wall yet exhilarating film from Paul Thomas Anderson.

Set in 1970 Los Angeles, the film revolves around a private investigator who takes part in the investigation of a millionaire as it leads to a series of strange cases involving real-estate, drugs, corruption, and all sorts of crazy things as Larry “Doc” Sportello (Joaquin Phoenix) copes with his work. It’s a film that has a lot to follow as Sportello is a known stoner/hippie who works as a private investigator as he is good at what he does despite not getting much respect from the authorities. Yet, his unconventional tactics do provide some results where he’s asked by his former flame Shasta (Katherine Waterson) to find a lover as it reveals to be part of something big as other cases involving another disappearance from a musician named Coy Harlingen (Owen Wilson) starts to come into play.

Paul Thomas Anderson’s screenplay definitely takes in the idea of a private investigator on a case that is set in a world that is very chaotic as Sportello is a person that is often associated with hippies. It’s an association that is dangerous as there’s tension between hippies and the police due to the recent murders by Charles Manson. That association hasn’t made things easy for Sportello as he would often give some information to a LAPD detective in Christian F. “Bigfoot” Bjornsen (Josh Brolin) who isn’t fond of Sportello but knows that Sportello. Bigfoot is among the series of many characters that Sportello would encounter as a lot of them are quite eccentric at times but also play into a world that is very chaotic as it represents a change that is looming in the air. Even as the world of hard drugs start to come into play as it would mark the beginning of the end of the 1960s and its ideals for a much more cynical world that is the 1970s.

Adding to the unique approach of the story is the narration as it’s told from the perspective of a friend of Sportello in Sortielge (Joanna Newsom) who is a small supporting character that definitely knows a lot about Sportello as she would often reveal his own flaws and his connection with Shasta whom he is in love with. It adds to the sense of melancholia in Sportello as he is motivated to find out why Shasta is in trouble as there’s a lot of very stylish dialogue that helps move the story. Especially as it plays to clues that Sportello has to figure out along with details which involves some very heavy revelations about what is happening and the sense of change that is coming. Some of which would prove to be uneasy for Sportello as he knows that he needs help in solving the case and to make things right for a few people.

Anderson’s direction definitely has an offbeat quality to the tone of the film where it has this strange mix of suspense, mystery, and humor as he shoots the film on location in Los Angeles and other nearby locations. Much of it involves these very simplistic yet entrancing compositions in its close-ups, medium shots, and wide shots along with some strange camera angles. There’s also some tracking shots that occur in the film while it’s kept to a minimum as Anderson is going for something that plays into a sense of time that is changing where things don’t make a lot of sense. Since it’s a story where a lot goes on, there are moments where the audience will find themselves lost which is probably what Anderson is intending to do as it plays into this world that Sportello is encountering where the parties become hazier and things are becoming darker. The direction also has these very comical moments that are very strange such as Sportello’s meeting with Harligen’s wife Hope (Jena Malone) where she shows him a baby picture as well as some of Sportello’s encounters with Bigfoot.

There’s also these little quirks that Anderson puts in as it relates to food such as the fact that Bigfoot always eats a chocolate banana while the feast for the hippies is pizza. These moments play into everything Sportello is encountering as it plays into a dangerous world of drugs and drug-trafficking that he doesn’t want to be a part of as there’s all of these things that emerge. Especially as Anderson’s direction has him diverting away from conventional ideas of storytelling where he would go into long and intimate takes to play into the conversations and the mysteries to unfold. The film’s climax plays into what Sportello is trying to discover as it is clear that it plays to a world that is changing as does the rules but he would do something that would show that he can accept these changes but not having to change his own principles. Overall, Anderson creates a very wild and sensational film about a private investigator going into a crazy adventure of intrigue and haze in 1970 Los Angeles.

Cinematographer Robert Elswit does amazing work with the film‘s colorful cinematography from the beauty of the Californian sun and beaches in its daytime exteriors to the use of lights and filters for some scenes set at night to help set a mood into the mysterious world that Sportello would encounter. Editor Leslie Jones does brilliant work with the editing in its approach to dissolves and jump-cuts to play into some of the sense of longing in Sportello as well as some of the film‘s offbeat humor. Production designer David Crank, with set decorator Amy Wells and art director Ruth De Jong, does excellent work with the set pieces from the look of the different houses that Sportello would go to as well as the LAPD building and his quaint home that shows who he is.

Costume designer Mark Bridges does fantastic work with the costumes from the ragged clothes he would wear as well as suits he would wear in disguise as well as the colorful and stylish clothing of the characters he would meet. Hair stylist Patricia DeHaney and makeup artist Susan Stepanian do terrific work with the hairstyles of the characters as well as some of the makeup the women wear plus the dental prosthetics by David Beneke for the teeth that Hope Harlegin has to sport due to her past drug addiction. Visual effects supervisor Paul Graff does nice work with some of the minimal visual effects that involve a few set-dressing scenes as well as some very strange moments where Sportello sees Bigfoot on TV.

Sound designer Christopher Scarabosio does superb work with the sound to capture some of the craziness of the house parties that Sportello would go to as well as the way some of the phone conversations play out. The film’s music by Jonny Greenwood is great as he brings in this mixture of eerie and melancholic orchestral music as well as strange and offbeat electric-folk pieces that includes an unreleased cut by his band Radiohead while music supervisor Linda Cohen brings in a fun soundtrack of music from Can, Neil Young, the Association, Minnie Ripperton, The Marketts, Kyu Sakamoto, Les Baxter, and Chuck Jackson as it plays to the tone of the times and the sense of change that is emerging.

The casting by Cassandra Kulukundis is phenomenal as it is a massive ensemble that features notable small performances from Jillian Bell as a hippie, Erica Sullivan as a doctor in a clinic Sportello visit, Jefferson Mays as the head of that clinic, Timothy Simons and Sam Jaeger as a couple of FBI agents who hover around Sportello’s investigation, Jordan Christian Hearn as Sportello’s assistant Denis, Hong Chau as a masseuse named Jade who helps Sportello out in the investigation, Keith Jardine as a biker with a swastika tattoo on his face, Elaine Tan as Dr. Blatnoyd’s secretary, Shannon Collis as a masseuse that Sportello meets early in the film, and Peter McRobbie as a dealer whom Sportello suspects that Bigfoot knows and doesn’t like. Other memorable small yet fun performances include Michael K. Williams as a Black Panther figure of sorts who tells Sportello about a turf he had lost, Jeannie Berlin as an informer of Sportello who knows about the wealthy Wolfmann family, Martin Donovan as a politician that Sportello previously met who might know something, and Sasha Pieterse as that politician’s daughter who hangs around with Dr. Blatnoyd.

Michelle Sinclair is superb as a sister of a dead suspect that meets with Sportello while Serena Scott Thomas is ravishing as the wife of a rich real estate man who is cheating on him. Maya Rudolph is wonderful as Sportello’s secretary Petunia as she is a pregnant nurse who is definitely smarter than Sportello while knowing he still has feelings for Shasta. Eric Roberts is terrific as the eccentric real estate mogul Mickey Wolfmann who disappears as he is connected to all sorts of things that intrigues Sportello. Martin Short is excellent as Dr. Blatnoyd as this offbeat dentist who has a penchant for cocaine as he is part of something secretive. Joanna Newsom is fantastic as Sortielge as a friend of Sportello who knows him very well as she is also this very intriguing observer. Jena Malone is amazing as Hope Harlingen as a former junkie and wife of Coy who gives Sportello information about her husband and why he might be alive. Owen Wilson is brilliant as Coy Harlingen as this musician who has disappeared as he is revealed to be something more as he is trying to hide from the people connected to these crimes.

Benicio del Toro is great as the attorney Sauncho Smilax Esq. as this oddball attorney who helps Sportello in the investigation while giving him information about some of the ins and outs of what is happening in Los Angeles. Reese Witherspoon is radiant as deputy D.A. Penny Kimball as a lover of sorts of Sportello who knows what is going on as she would help in uncovering parts of the mystery that is surrounding the case. Katherine Waterston is remarkable as Shay Fay Hepworth as a former lover of Sportello who returns in need of help as she has this evocative presence that is fascinating as she proves to be the one person that might understand him.

Josh Brolin is marvelous as Bigfoot as this straight-laced detective who despises hippies as he brings this very odd yet engaging performance as a man that is very intimidating but knows when Sportello is onto something and helps him. Finally, there’s Joaquin Phoenix in a tremendous performance as Larry “Doc” Sportello as this very weird stoner detective who is taking a case for his ex-girlfriend as he goes into a dangerous web of drugs and corruption as it’s a performance that has Phoenix be very funny. Even in scenes where he is treated as a foil while coping with times that are changing around him as it’s really one of Phoenix’s best performances.

Inherent Vice is a rapturous and truly off-the-wall film from Paul Thomas Anderson that features a great leading performance from Joaquin Phoenix. Armed with a brilliant supporting ensemble, a mind-bending premise, themes on a world that is changing, and a killer music soundtrack. It’s a film that refuses to define itself as it’s definitely not for everyone as it has so many twists and turns that will be hard to follow yet plays into a sense of haziness that goes into one man’s investigation to uncover the truth. In the end, Inherent Vice is a spectacularly odd yet dazzling film from Paul Thomas Anderson.

P.T. Anderson Films: Hard Eight/Sydney - Boogie Nights - Magnolia - Punch-Drunk Love - There Will Be Blood - The Master - Junun - Phantom Thread - Licorice Pizza - One Battle After Another

Related: The Shorts & Videos of P.T. Anderson - The Auteurs #15: Paul Thomas Anderson

© thevoid99 2015

The Dark Knight

Originally Written and Posted at Epinions.com on 7/20/08 w/ Additional Edits.

***In Memory of Heath Ledger (1979-2008)***

When Batman reemerged to the cinema in 2005, Christopher Nolan's new approach to the Caped Crusader returned Batman to his dark roots. With Christian Bale in the role of Bruce Wayne and Batman, 2005's Batman Begins was a huge hit as it resurrected the comic book hero after being lambasted with ridiculous storylines, bad puns, and such from 1997's Batman & Robin by Joel Schumacher. The return of Batman was greeted with rave reviews and huge box office as everyone is happy. With a new franchise emerging with Nolan and Bale leading the way. It was time for the franchise itself to step up to its epic vision as Nolan along with his brother Jonathan and Batman Begins co-writer David S. Goyer to make a new Batman movie that is even grander and more darker.

For the sequel entitled The Dark Knight, the film essentially picks up where Batman Begins left off. In that film's ending, the just-promoted Lieutenant James Gordon shows Batman a Joker's card. The card would signify the new foe Batman would face in The Dark Knight as he would also face a series of obstacles ranging from the physical to the emotional and mental. Directed by Christopher Nolan with a script he co-wrote with brother Jonathan based on the screen story by Christopher Nolan and David S. Goyer. The Dark Knight tells the story of Bruce Wayne playing Batman as he deals with overwhelming escalation among the mob and other criminals while wanting a normal life. With the arrival of new district attorney Harvey Dent, Wayne hopes for the new D.A. to succeed despite the fact that he's dating Wayne's former flame Rachel Dawes. Meanwhile, a new criminal has arrived to wreak havoc on Gotham itself as he's called the Joker.

Based on the comic book by Bob Kane along with characters created by Bill Finger and Jerry Robinson, the story is inspired by the comic story Batman: The Long Halloween as well as The Killing Joke story written by Alan Moore. The film takes Batman to newer, darker levels as he faces the Joker whose sense of chaos and lack of remorse makes him the ultimate villain that Batman has to face. Along the way, Batman would face more villains aside from the mob and the Scarecrow when Dent would eventually become another main villain named Two-Face.

With Bale returning for the role of Batman/Bruce Wayne along with previous Batman Begins cast members Michael Caine as Alfred, Morgan Freeman as Lucius Fox, Gary Oldman as James Gordon, and Cillian Murphy as the Scarecrow. The film also stars Maggie Gyllenhaal, Aaron Eckhart, Eric Roberts, Michael Jai White, Anthony Michael Hall, Nestor Carbonell, William Fichter, Melinda McGraw, Nathan Gamble, and in one of his final performances, Heath Ledger as the Joker. The Dark Knight is an eerie, epic, and haunting masterpiece from Christopher Nolan and company.

More than a year after his arrival into Gotham City, Batman has managed to make Gotham a bit safer. The bad news is that copycat vigilantes has tried to do what Batman has done but often causing trouble. Especially as the Caped Crusader manages to capture former foe Jonathan Crane aka Scarecrow (Cillian Murphy) who is trying to make deals with the mob. Yet, Batman has also received a lot of heat from the police and press. Then hope arrives in the form of new district attorney Harvey Dent (Aaron Eckhart) who decides to help rid Gotham of crime. Lieutenant James Gordon (Gary Oldman) and Batman hopes that Dent will do the job after an attempt in putting Sal Maroni (Eric Roberts) on trial. Maroni and another mob boss in Gambol (Michael Jai White) turn to a Chinese business accountant named Lau (Chin Han) to help in saving their money. Maroni also turns to a psychotic criminal named the Joker for help as he decides that the only option to help themselves is to kill Batman.

With Dent now becoming a rising public figure, he is also dating Rachel Dawes (Maggie Gyllenhaal), the assistant DA as Bruce Wayne realizes that his hopes to win Rachel's heart are not going to be easy. Even as he tries to deal with his role as Batman as he lives in a penthouse with faithful butler Alfred (Michael Caine) while running his enterprise with CEO Lucius Fox (Morgan Freeman). Fox and Wayne tried to make a deal with Lau where in truth, Wayne suspects Lau of taking money from the mob for their protection as he, Fox, and Alfred go to Hong Kong to capture Lau so he can testify against Maroni. With Dent managing to gather evidence against Maroni, things seem to go well until the Joker creates assassinations and such as he also targets Dent. Yet, the Joker comes face-to-face with Batman.

With another assassination attempt on the mayor (Nestor Carbonell) thwarted, Dent and Batman make a plan to capture the Joker with Gordon's help as Rachel stays at Bruce's for protection after she learned she's being targeted. Dent, Batman, and Gordon's plan to capture the Joker succeeds only to somehow, backfire because of the Joker's plan. The plan would involve the scarring of Harvey Dent as Bruce Wayne is forced to deal with the weight of being Batman. The Joker frees himself from jail as he decides to wreak more havoc into Gotham as he corrupts Harvey into becoming Two-Face as Batman realizes what limits he must take to save Gotham from the maniacal mind of the Joker.

In Batman Begins, Christopher Nolan tells the story of Batman's origins as he shows audiences how Bruce Wayne became the Caped Crusader as he understands what he must do and what he cannot do. In The Dark Knight, Wayne is forced to see how far he can be pushed and if he can restrain himself. What the film is about is Wayne trying to return to normal life in some ways as he lays all of his hopes on Harvey Dent. Then when the Joker arrives, everything completely goes to hell as he wreaks havoc on Gotham as he tries to prove a point of how even the most pure person can be corrupted through unspeakable means.

Yet, the core story of the film is Batman and Jim Gordon trying to battle the Joker as they realize that the Joker's intentions is to prove that there's no such thing as purity, honor, and justice. Batman and Dent tries to prove otherwise but once Dent is scarred on all levels, he becomes corrupted to the point that everything he is supposed to stand for is out of the window. Yet, this leaves the Joker the opportunity to create anarchy in Gotham as his true colors is the fact that he's a man who works for himself and only himself. The mob and gangs are nothing to him as simply pawns of his game. He also plays a different game with Batman as he tries to get him to reveal himself while hoping to have him destroyed. Yet, he's the man that likes to push Batman's buttons into doing things to try and make Batman break his one rule, to not kill.

Christopher Nolan along brother Jonathan and co-story writer David S. Goyer create a very complex, epic story that is a comic book film but with something more. The film in some ways is a character study on Batman/Bruce Wayne, Harvey Dent/Two-Face, and the Joker. While it's clear that Wayne's motivations is simply to protect Gotham from harm, the Joker doesn't have motivation other than the fact that he just likes to create chaos in a world that he feels is impure. Then there's Harvey Dent, a man who is clearly on the world of good as he wants to clean up the streets and be the White Knight to protect Gotham. Though as Dent, there's shades of his dark side as he's even pushed to the limits. When he becomes Two-Face, the coin that he carries becomes his decider as he ends up being a character with very little remorse and hopes to prove that the Joker's argument for disorder is right.

The script by the Nolan brothers is more straightforward than their previous films as it doesn't rely on flashbacks and such. Instead, Christopher Nolan sets up scenes and things that would create a sense of momentum with the script's structure. The opening scene begins with a bank robbery that involved the Joker and fellow thieves to give the idea of what kind of man the Joker is. The first act is about Batman/Bruce Wayne's hope for Harvey Dent to take over while dealing with Rachel falling for Harvey. The second act involves the capture of the Joker and the beginning of Dent's corruption. The third is Batman dealing with the chaos the Joker has created and the outcome of what Dent has become. The film's ending is complex in not just on what was lost but how to cope with the outcome for both Batman and Jim Gordon.

Nolan's direction is truly astonishing as he creates a look and atmosphere that is purely epic and grand in its vision. With locations shot largely in Chicago and parts of Hong Kong, the film has a look that remains true to the grittiness of Batman Begins but on a far more grander scale. Especially in a few sequences that were shot with IMAX-made cameras like the opening bank scene, the nighttime Hong Kong scene, and other big action scenes. What Nolan also does is rely less on CGI-computer created images and have more realistic look whether its stunts or make-up in the case of Two-Face. Nolan creates a sense of momentum for some of the film's action sequences that also gear towards drama. The film also has some light humor that is also matched by the maniacal yet dark humor of the Joker.

Now some audiences might complain that the film is too dark and too long. It's dark because Batman is meant to be dark. Bruce Wayne has a sense of humor but Batman doesn't. Nolan understands this because, since he's a comic book fan. He knows that Batman has always intended to be this dark, adult figure who isn't really a hero. He's an anti-hero in some respects. The reason it's long is because given that Nolan wants an epic story that lives up to the larger-than-life figures that is Batman and the Joker. These are two men who are in some ways, equals as they give into adult themes that might be too heavy to understand if the audience are kids. What they know is that Batman is a good guy and the Joker is a bad guy. Nolan understands this but he knows that children have an idea of who Batman is and what he represents. His point of view more has to do with the original comics which aren't exactly kid-friendly. That's why kids might have more fun watching something like Spider-Man, who's a more accessible, friendlier super-hero.

Nolan obviously draws some of his cinematic inspirations from Michael Mann's Heat for some of the film's sequences while also taking notes from classic crime dramas which the film in some ways, is. It's a simple crime drama about a man wearing cape who teams up with a new district attorney, and a top police official to fight the mob unaware that they're going up against a figure of terror named the Joker. Nolan has to create a film within those simple plot lines but add dark touches that aren't easy to divulge as it's a film that also has a sense of tragedy. The tragedy more involves in what Batman has to play and what he must sacrifice in order to save Gotham. What Christopher Nolan creates overall is a huge film with a large canvas and a grand story as it's a film that is not just superior than the previous Batman films but raises the bar for all super-hero films based on comic books.

Cinematographer Wally Pfister creates a sharp, gritty look to the film with wonderful shading and colors to fit the mood of the film. From the daytime exteriors that rarely has moments of sunny, bright colors to the eerie nighttime exteriors for some of the scenes shot in Chicago with sepia-drenched colors for the city lights and highways and at times, very little color. In the Hong Kong scene, Pfister's use of blue colors and bright lights are truly brilliant with jaw-dropping presentation as it stays true to its grand look. Pfister's use of colors for the interior also pays true to the look of the Gotham exteriors in its nighttime scenes for its eerie tone as Pfister's photography is a highlight of the film.

Editor Lee Smith does a great job in maintaining the film's leisurely yet stylish pacing approach while creating scenes of tense drama to cut from segment and then to another, and another to create momentum. Smith also does superb work in creating a rhythm for the film's action scenes to create a sense of tension and build-up that is magnificent. Production designer Nathan Crowley along with art director Simon Lamont and set decorator Peter Lando do an amazing job in creating the new secret place where Bruce Wayne and Alfred work at along with the gadgets workshop that Fox has made. Even the gadgets that were created by special effects Chris Corbuld for the action scenes including the Batpod are truly brilliant.

Costume designer Lindy Hemming does an amazing job with the look of the Joker's costumes are truly demonic yet stylish while the Batsuit is given a grittier look that is true to the tone of the film. And no, there are no nipples in the Batsuit! Makeup designers John Caglione Jr., Linda Rizzuto, and Vicki Vacca are great to create the grungy makeup look of the Joker while the look of Two-Face with help from visual effects supervisor Nick Davis is also demonic to unveil the corruption of Harvey Dent. Sound designer Richard King does a fantastic job in the layering of sounds for some of the film's high-octane action sequences as well as sound of the Joker's sinister laughter that is chilling to hear.

The music score of composers James Newton Howard and Hans Zimmer is brilliant as it lives up to its grand scale. Howard and Zimmer create fast-building, momentum-driven pieces to convey the sense of action and drama while having moments of screeching violins to play up to the film's sense of horror that accompanies the Joker. The score overall is truly brilliant as it's one of the year's best score work that is filled with huge arrangements, bass-heavy sounds, and layers of synthesizers to create a dark mood.

The casting by John Papsidera is phenomenal for its collection of actors with several appearances being very memorable. Small performances from Melinda McGraw as Jim Gordon's wife, Nathan Gamble as Gordon's son, Beatrice Rosen as Wayne's date Natascha, Nydia Rodriguez Terracina as a judge, Ritchie Coster as a Chechen accomplice of Maroni, and Tommy "Tiny" Lister as a prisoner in a ferry scene who makes a decision relating to the Joker's reign of terror. Other notable small appearances include Joshua Harto as a suspicious employee of Wayne Enterprises who tries to expose who Batman is while Anthony Michael Hall plays newscaster Mike Engel who also tries to expose Batman's identity. Nestor Carbonell is good as the town's mayor while Monique Curnen is also good as Gordon's fellow detective Ramirez.

Michael Jai White has an excellent yet small memorable role as gang leader Gambol who doesn't trust the Joker while returning from Batman Begins, Colin MacFarlane as Commissioner Loeb and Cillian Murphy as the Scarecrow where the latter gives a great cameo appearance. Eric Roberts is in fine, slimy form as Sal Maroni, a mob boss who tries to do his business as he ends up having a scary confrontation with Batman. Chin Han is good as the charming yet conniving Lau, an accountant who ends up getting into trouble with Batman. In the film's opening bank robbery scene, William Fichter gives a great performance as a heroic bank manager who tries to battle the Joker only to realize what kind of power the man has.

Taking over for Katie Holmes in the role of Rachel Dawes, Maggie Gyllenhaal is excellent as Bruce Wayne's love interest as she plays a woman conflicted in her feelings for Bruce and Harvey. Gyllenhaal's performance truly surpasses what Holmes brought in the previous film as Gyllenhaal is more engaging, more subtle, and sassier as she has great chemistry with both Christian Bale and Aaron Eckhart while having a great scene with Michael Caine. Morgan Freeman and Michael Caine both do superb work in their respective roles as Lucius Fox and Alfred. Freeman adds a lot of subtle humor and charm to the character of Fox while Caine plays the moral conscience of the film as he has some funny one-liners while being the lone father figure that Bruce needed. Gary Oldman is brilliant in his role as Lieutenant James Gordon, a good-hearted cop who is trying to capture the Joker and bring peace to Gotham as he had to take risks that involves his family while being the moral center for both Batman and Harvey Dent.

Aaron Eckhart is phenomenal in the role of Harvey Dent/Two-Face, a man who brings hope to Gotham City as he carries a coin that he's convinced gives him good luck. Eckhart displays a lot of charm and wit to Dent yet as he turns into Two-Face. Eckhart displays the sense of madness and terror as he becomes someone corrupted as he is tormented in what he lost as he becomes the very thing he is trying to fight against. Christian Bale is great as the character of Bruce Wayne and Batman as Bale brings a complexity to a man pondering about the role of the Caped Crusader. Bale's sense of torment and confusion adds a new layer to Bruce Wayne and Batman as he's wondering if he should do things he shouldn’t do while trying to be the hero that can save Gotham. It's a great performance from Bale as he adds new dimensions to the Dark Knight.

Finally, in his penultimate performance, Heath Ledger gives a rousing, maniacal, humorous, and certainly anarchic performance that is truly unforgettable as the Joker. Had he not died this past January, this performance surely would've made him into one of this generation’s great actors. What Ledger brings is a twisted, eerie, and psychotic performance that is more definitive and a lot closer to what the Joker is in the comics. Less comical than Cesar Romero in the original TV series and far less chew-scenery than Jack Nicholson in the 1989 film version by Tim Burton. Ledger's performance as the Joker is miles away from what those two actors have brought to the character. He has a great sense of humor that is very dark. He likes to create a lot of chaos, he can do lots of lip-smack that is creepy. There's layers to what Ledger brings to the character.

The portrayal of the Joker isn't some caricature or a one-dimensional villain. Ledger sees him as a man who is all about chaos, who doesn't think of good in the world. Ledger creates a villain that is just full of terror as even the men he's hired by are intimidated by him once they see on what he can do. He's someone that's not motivated by money, by revenge, or anything. Ledger makes sure the Joker is a man who likes chaos as Ledger makes the character of the Joker simply larger than life. For the late, 28-year old Australian actor who has brought such memorable performances as a young knight, a poetic junkie, a conflicted gay cowboy, and a troubled version of Bob Dylan. The role as the Joker is a definitive, mesmerizing, and certainly iconic performance from the late, great Heath Ledger.

The Dark Knight is a thrilling, superb, and supremely epic blockbuster film from Christopher Nolan and company featuring great performances from Christian Bale, Aaron Eckhart, Gary Oldman, and most of all, Heath Ledger. Fans of the Batman film series will no doubt be amazed at what Nolan does as he exceeds all the expectations that's raised for the film. Though young audiences, particularly kids might feel overwhelmed by its length and dark tone, audiences who love comic book and heavy crime drama will truly enjoy this film for its epic scale and eerie atmosphere. Though its unclear how Nolan and his team will try and top the third installment of the Batman series. It's clear about one thing, The Dark Knight is truly the most definitive and certainly the best of all super-hero films that's ever made.

Christopher Nolan Films: Following - Memento - Insomnia (2002 film) - Batman Begins - The Prestige - Inception - The Dark Knight Rises - Interstellar - Dunkirk - Tenet - Oppenheimer - The Auteurs #13: Christopher Nolan

Batman Films: (Batman (1966 film)) - Batman (1989 film) - Batman Returns - Batman Forever - Batman & Robin - Batman v Superman: Dawn of Justice - The Lego Batman Movie - The Batman (2022 film)

© thevoid99 2011