Christopher wanted to cast an actor with an all-American "heroic presence" for Harvey Dent, something he likened to Robert Redford but with an undercurrent of anger or darkness.[52] Josh Lucas, Ryan Phillippe, and Mark Ruffalo were considered, as well as Matt Damon, who could not commit due to scheduling conflicts.[o] According to Christopher, Eckhart had the all-American charm and "aura ... of a good man pushed too far".[10][52] Eckhart found portraying conflicted characters to be interesting; he said the difference between Dent and Batman is the distance they are willing to go for their causes, and that after Dent's corruption he remains a crime fighter but he takes this to an extreme because he dislikes the restrictions of the law.[10][66] Eckhart's performance was influenced by the Kennedy family, particularly Robert F. Kennedy, who fought organized crime with a similarly idealistic view of the law.[67] During discussions on the portrayal of Dent's transformation into Two-Face, Eckhart and Christopher agreed to ignore Tommy Lee Jones's "colorful" portrayal in Batman Forever (1995), in which the character has pink hair and wears a split designer suit, in favor of a more realistic, slightly burnt, neutral-toned suit.[67]
Principal photography began on April 18, 2007, in Chicago on a $185 million budget.[s][t] For The Dark Knight, Pfister chose to combine the "rust-style" visuals of Batman Begins with the "dusk"-like color scheme of The Prestige (cobalt blues, greens, blacks, and whites), in part to address over-dark scenes in Batman Begins.[81][94] To avoid attention, filming in Chicago took place under the working title Rory's First Kiss but the production's true nature was quickly uncovered by media publications.[95] The Joker's homemade videos were filmed and mainly directed by Ledger. Caine said he forgot his lines during a scene involving one video because of Ledger's "stunning" performance.[34]
The The Dark Knight
Download: https://urlcod.com/2vEyy6
Several publications called The Dark Knight the best comic-book hero adaptation ever made. Roger Ebert said it, alongside Iron Man, had redefined the potential of superhero films by combining comic-book tropes with real world events.[ai] Some appreciated its complex moral tale about the effects of vigilantism and terrorism on contemporary society. Emanuel Levy and Manohla Dargis praised the depiction of the characters as possessing both positive and negative aspects, such as Batman's efforts to end crime provoking unintended consequences and a greater response from criminals; Dargis believed The Dark Knight's exploration of chaos, fear, and death, following the September 11 attacks in 2001, represented "that American movies have entered a new era of ambivalence when it comes to their heroes or maybe just superness."[aj] Others criticized the dark, grim, intense, and self-serious tone as lacking any elements of fun or fantasy.[ak] David Denby said The Dark Knight was a product of a "time of terror", but focused on embracing and unleashing it while cynically setting up a sequel.[210] Stephanie Zacharek and David Edelstein criticized a perceived lack of visual storytelling in favor of exposition, and aspects of the plot being difficult to follow amid the fast pace and loud score.[232][233] Christopher's action direction was criticized, especially during fight scenes where it could be difficult to see things clearly,[227][228] although the prologue bank heist was praised as among the film's best.[al]
The Dark Knight focuses on the moral and ethical battles faced by the central characters, and the compromises they make to defeat the Joker under extraordinary circumstances.[ay] Roger Ebert said the Joker forces impossible ethical decisions on each character to test the limits of their morality.[220][310] Batman represents order to the Joker's chaos and is brought to his own limit but avoids completely compromising himself. Dent represents goodness and hope; he is the city's "white knight" who is "pure" of intent and can operate within the law.[310][311][318] Dent is motivated to do good because he identifies himself as good, not through trauma like Batman, and has faith in the legal system.[311] Adlakha wrote Dent is framed as a religious icon, his campaign slogan being "I believe in Harvey Dent", and his eventual death leaves his arms spread wide like Jesus on the Cross.[310][318] Eckhart described Dent as someone who loves the law but feels constrained by it and his inability to do what he believes is right because the rules he must follow do not allow it.[66] Dent's desire to work outside the law is seen in his support of Batman's vigilantism to accomplish what he cannot.[42]
Dent's corruption suggests he is a proxy for those looking for hope because he is as fallible and susceptible to darkness as anyone else.[318] This can be seen in his use of a two-headed coin to make decisions involving others, eliminating the risk of chance by controlling the outcome in his favor, indicating losing is not an acceptable outcome for him. Once Dent experiences a significant traumatic event in the loss of Rachel and his own disfigurement, he quickly abandons his noble former self to seek his own form of justice. His coin is scarred on one side, introducing the risk of chance, and he submits himself to it completely. According to English professor Daniel Boscaljon, Dent is not broken; he believes in a different form of justice in a seemingly unjust world, flipping a coin because it is "Unbiased. Unprejudiced. Fair."[321]
Before The Dark Knight, superhero films closely emulated their comic-book source material, and though the genre had seen significant successes such as Superman (1978), Batman (1989), X-Men (2000), and Spider-Man (2002), they were often considered disposable entertainment that did not garner much industry respect.[bb] A 2018 retrospective by The Hollywood Reporter said The Dark Knight taught filmmakers "comic book characters are malleable. They are able to be grounded or fantastic, able to be prestigious or pure blockbuster entertainment, to be dark and gritty or light, to be character-driven or action-packed, or any variation in-between."[285]
Retrospective analysis has focused on the way studios, eager to replicate its performance, released tonally dark, gritty, and realistic films, or reboots of existing franchises, many of which failed critically or commercially.[277][285][329] Some publications said studios took the wrong lessons from The Dark Knight, treating source material too seriously and mistaking a dark, gritty tone for narrative depth and intelligent writing.[bd] The MCU is seen as a successful continuation of what made The Dark Knight a success, combining genres and tones relevant to each respective film while treating the source material seriously, unlike the DC Extended Universe, which more closely emulated the tone of The Dark Knight but failed to replicate its success.[329][335]
This story, along with Alan Moore's Watchmen (published in the same year) and Art Spiegelman's Maus, helped to raise the medium to a more mature level of literature, and it ushered in the popularity of graphic novels as a form of literature that truly differs from "child-oriented comic books." Critics have accused this story of giving birth to the era of "grim and gritty" comic books that lasted from the late 1980s through the early 1990s, when comic books took many adult-oriented themes (especially explicit violence and sexual content) to "the limits of decency." Although the Batman has rarely been as obsessive and powerful a figure as Miller depicts him here, Batman: The Dark Knight Returns was tremendously influential; since the work was originally published, Miller's portrayal of the character as a dark and compulsive figure has dominated most Batman projects to at least some degree. This includes the 1989 Batman film directed by Tim Burton which drew upon Batman: The Dark Knight Returns (as well as Alan Moore and Brian Bolland's graphic novel Batman: The Killing Joke) as a major influence. Some have criticized Dark Knight for eventually causing Batman to become a "psycho" in mainstream DC continuity (which is how some view him today), but it is important to note that in the context of the story, Batman's extreme and obsessive actions are a direct result of his overcompensating for his guilt over giving up his life as Batman ten years ago and thus breaking his childhood vow to wage war against crime.
(at around 51 mins) When The Joker is telling Rachel the story of how he got the scars, his philtrum (a space between the nose and upper lip) is clean but in the dialogue "She can't stand the sight of me" you can see a blood or some sort of dark colored liquid on it. In the next frame it's gone.
(at around 1h 27 mins) During the interrogation scene when Gordon leaves the room and the lights come on, you can see the Joker close his eyes and brace himself to have his head slammed into the desk before Batman touches him. However, he was probably blinking from the bright lights coming on after he was in the dark for so long.
Parents need to know that The Dark Knight Rises is the final installment in director Christopher Nolan's dark, violent Batman trilogy. Like its predecessors, The Dark Knight Rises features ultra-violent scenes of torture and death that are too intense for younger kids used to the nearly comic, stylized action violence of other superhero films. A disturbingly high body count is achieved via massive explosions, kidnappings, neck breakings, shootings, and hand-to-hand combat. While there's not a lot of actual blood, there's tons of death and mass destruction. Bruce Wayne enjoys a few passionate kisses and one love scene that shows bare shoulders; swearing is very infrequent (the strongest words used are "bitch" and "damn"). The film's villain, Bane, is monstrously muscled and frighteningly sadistic, and his mask is very scary looking. Despite the violence, be prepared for kids to beg to see the much-hyped Caped Crusader's latest adventure. 2ff7e9595c
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