By Kate Mason and Sam Jewler
Two things were noticeable about the line of people awaiting the 12:01 a.m. Lincoln Square cinema premiere of the new Batman movie, The Dark Knight. First, the affinity most of the waiting masses appeared to feel with the Caped One; second, the bizarre impression many of the waiting seemed to have that they had seen the movie already.
By Sara Vilkomerson
There’s a moment in the new Batman movie The Dark Knight when the action—which relentlessly pounds, soars, twists and turns for a full two and a half hours—slows down for one brief and strangely beautiful instant. The Joker—certainly one of the more villainous, terrifying and electric characters to come our way in some time—speeds through Gotham’s sleek, gray streets, his head hanging out of a cop car window, eyes softly shut, mutilated face turned skyward, stringy and matted green hair flattened by wind. Chaos is under way, hope is dimming, the future looks grim … and the Joker is just enjoying the breeze.
By Andrew Sarris
Christopher Nolan’s The Dark Knight, from a screenplay by Jonathan Nolan and Christopher Nolan, based on a story by Christopher Nolan and David S. Goyer, is, of course, ultimately from a series of comic books published by DC Comics, with the creation of the Batman character attributed to Bob Kane. In the world of comic-book superheroes, the Batman franchise has specialized in the most eccentrically colorful villains. I still remember Michael Keaton’s Bruce Wayne/Batman character looking out of the corner of his eye at Jack Nicholson’s clownish antics as the Joker in Tim Burton’s 1989 Batman, the second such cinematic transfer after Laslia Martinson’s 1966 Batman, with Adam West reprising in a campy fashion his hit television role.