[QUOTE=ivan astikov]
While we are discussing the holes in superhero characters, can I just ask if Clark Kent’s glasses incorporate some sort of device which prevents people recognising him as Superman?
[/QUOTE]
In fact, they do. All is revealed in Superman #330 (Dec 1978), “The Master Mesmerizer of Metropolis!” in which Superman confronts both the hypnotic threat of the villainous Spellbinder and the decades-old mystery of his own tenuous disguise. Looking at his own bespectacled reflection in a mirror, Superman grudgingly admits: “Hmm… now that I think about it… that’s the dumbest disguise I’ve ever seen! Who am I supposed to look like… a totally different person?” Truly one of the great moments of comic history, even if the main storyline does focus on a third-rate Batman villain named Delbert.
Anyhoo… I just got back from The Dark Knight, and I am still genuinely perplexed. I feel like this was the sort of movie that I should have hugely enjoyed; and yet I didn’t, particularly. I’m pretty far along in life for my basic cinematic tastes to just suddenly up and shift like that. Maybe this is a sign that my medication needs adjusting.
Things I liked:
Wow, it appears that it is possible to successfully depict Batman expressing optimism, and generally indicating that he is motivated to fight crime for reasons other than being a colossal dick! How about that?
At last we are approaching a cinematic Batman costume design that looks as though it could plausibly be worn while fighting crime, instead of the neckless bodysculpture style that requires the criminals to run up directly in front, one at a time, before being ponderously kicked into submission.
White ‘sonar’ eye lenses-- okay, that was hilarious. Little stuff like that shows how these guys are sincerely into the Bat-mythos.
Harvey Dent may just be the most interesting comic book movie villain ever. (So of course we won’t ever be seeing him again…)
Wow, Rachel Dawes is re-introduced as a complex and savvy comic book movie love interest in a poignant and engaging romantic triangle! (So of course…)
Things I didn’t:
As I watched the antics of the Gotham City police, a remark made by Crow T. Robot of MST3K came to mind: “These guys are dumber than invertebrates!”
Individually there were some really good scenes: however, overall the script didn’t exhibit much structure. It’s like the writers wrote a bunch of scenes that they liked, and then weren’t really sure how to fit them together, so they just sort of strung them all end to end. And if anybody needed to get from one scene to the next, they would simply get into a car, and the driver would kidnap them into the next scene. How many times did they use the random betrayal and/or kidnapping plot device? It felt like about a million. Kidnapping eventually loses its impact if you’re just using it as an excuse to end scenes.
I wish I had a clearer idea of whether Heath Ledger was doing a good job as the Joker; but the makeup department was working so hard at making him look ‘scary’ that it profoundly distracted me from any moments of scary acting. He didn’t really have a surfeit of funny lines, either, which is kind of odd given that he’s “the Joker.” Ledger did have the Cesar Romero cackle down pretty good, I must admit.
I also found the ‘Joker noise’-- what was that, a joy buzzer?-- got old by the second time it was used. Ah, you say he’s being crazy and menacing, soundtrack? Thank you so much for the heads-up on that.
Speaking of the soundtrack: I thought Batman Begins was an effective step away from the cartoonish Elfman tradition. By contrast, The Dark Knight had one drab, monotonous theme-- what was that, violins? Cellos? The incessant noot-noot-noot was amazingly effective at building non-tension.