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Heath Ledger (born in Perth, Australia, April 4, 1979, died January 22, 2008) acted in movies like 10 Things I Hate About You (1999) with Julia Stiles, The Patriot (2000) by Roland Emmerich with Mel Gibson, A Knight’s Tale (2001) by Brian Helgeland, Monster’s Ball (2001) by Marc Forster, The Four Feathers (2002) by Shekhar […]

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John Caglione, Jr. on Instagram: “2009 The Dark Knight , I was makeup artist to Heath Ledger loved designing and applying..( I’m here with Heath doing touch ups )It would become an Iconic performance and countenance .#thejoker #heathledger #thedarkknight #iconicmakeup #iatselocal706”

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1,299 likes, 73 comments - johnny_cags on October 17, 2023: “2009 The Dark Knight , I was makeup artist to Heath Ledger loved designing and applying..( I’m here with Heath doing touch ups )It would become an Iconic performance and countenance .#thejoker #heathledger #thedarkknight #iconicmakeup #iatselocal706”.

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Movie Review | 'The Dark Knight'

Heath Ledger plays the Joker in Christopher Nolan's second take on the Batman franchise. Credit... Warner Brothers Pictures

The Dark Knight

NYT Critic's Pick

Directed by Christopher Nolan

Action, Crime, Drama, Thriller

PG-13

2h 32m

Dark as night and nearly as long, Christopher Nolan's new Batman movie feels like a beginning and something of an end. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind — including "Batman Begins," Mr. Nolan's 2005 pleasurably moody resurrection of the series — largely by embracing an ambivalence that at first glance might be mistaken for pessimism. But no work filled with such thrilling moments of pure cinema can be rightly branded pessimistic, even a postheroic superhero movie like "The Dark Knight."

Apparently, truth, justice and the American way don't cut it anymore. That may not fully explain why the last Superman took a nose dive ("Superman Returns," if not for long), but I think it helps get at why, like other recent ambiguous American heroes, both supermen and super-spies, the new Batman soared. Talent played a considerable part in Mr. Nolan's Bat restoration, naturally, as did his seriousness of purpose. He brought a gravitas to the superhero that wiped away the camp and kitsch that had shrouded Batman in cobwebs. It helped that Christian Bale, a reluctant smiler whose sharply planed face looks as if it had been carved with a chisel, slid into Bruce Wayne's insouciance as easily as he did Batman's suit.

The new Batman movie isn't a radical overhaul like its predecessor, which is to be expected of a film with a large price tag (well north of $100 million) and major studio expectations (worldwide domination or bust). Instead, like other filmmakers who've successfully reworked genre staples, Mr. Nolan has found a way to make Batman relevant to his time — meaning, to ours — investing him with shadows that remind you of the character's troubled beginning but without lingering mustiness. That's nothing new, but what is surprising, actually startling, is that in "The Dark Knight," which picks up the story after the first film ends, Mr. Nolan has turned Batman (again played by the sturdy, stoic Mr. Bale) into a villain's sidekick.

That would be the Joker, of course, a demonic creation and three-ring circus of one wholly inhabited by Heath Ledger. Mr. Ledger died in January at age 28 from an accidental overdose, after principal photography ended, and his death might have cast a paralyzing pall over the film if the performance were not so alive. But his Joker is a creature of such ghastly life, and the performance is so visceral, creepy and insistently present that the characterization pulls you in almost at once. When the Joker enters one fray with a murderous flourish and that sawed-off smile, his morbid grin a mirror of the Black Dahlia's ear-to-ear grimace, your nervous laughter will die in your throat.

A self-described agent of chaos, the Joker arrives in Gotham abruptly, as if he'd been hiding up someone's sleeve. He quickly seizes control of the city's crime syndicate and Batman's attention with no rhyme and less reason. Mr. Ledger, his body tightly wound but limbs jangling, all but disappears under the character's white mask and red leer. Licking and chewing his sloppy, smeared lips, his tongue darting in and out of his mouth like a jittery animal, he turns the Joker into a tease who taunts criminals (Eric Roberts's bad guy, among them) and the police (Gary Oldman's good cop), giggling while he-he-he (ha-ha-ha) tries to burn the world down. He isn't fighting for anything or anyone. He isn't a terrorist, just terrifying.

Mr. Nolan is playing with fire here, but partly because he's a showman. Even before the Joker goes wild, the director lets loose with some comic horror that owes something to Michael Mann's "Heat," something to Cirque de Soleil, and quickly sets a tense, coiled mood that he sustains for two fast-moving hours of freakish mischief, vigilante justice, philosophical asides and the usual trinkets and toys, before a final half-hour pileup of gunfire and explosions. This big-bang finish — which includes a topsy-turvy image that poignantly suggests the world has been turned on its axis for good — is sloppy, at times visually incoherent, yet touching. Mr. Nolan, you learn, likes to linger in the dark, but he doesn't want to live there.

Though entranced by the Joker, Mr. Nolan, working from a script he wrote with his brother Jonathan Nolan, does make room for romance and tears and even an occasional (nonlethal) joke. There are several new characters, notably Harvey Dent (a charismatic Aaron Eckhart), a crusading district attorney and Bruce Wayne's rival for the affection of his longtime friend, Rachel Dawes (Maggie Gyllenhaal, a happy improvement over Katie Holmes). Like almost every other character in the film, Batman and Bruce included, Harvey and Rachel live and work in (literal) glass houses. The Gotham they inhabit is shinier and brighter than the antiqued dystopia of "Batman Begins": theirs is the emblematic modern megalopolis (in truth, a cleverly disguised Chicago), soulless, anonymous, a city of distorting and shattering mirrors.

From certain angles, the city the Joker threatens looks like New York, but it would be reductive to read the film too directly through the prism of 9/11 and its aftermath. You may flash on that day when a building collapses here in a cloud of dust, or when firemen douse some flames, but those resemblances belong more rightly to our memories than to what we see unfolding on screen. Like any number of small- and big-screen thrillers, the film's engagement with 9/11 is diffuse, more a matter of inference and ideas (chaos, fear, death) than of direct assertion. Still, that a spectacle like this even glances in that direction confirms that American movies have entered a new era of ambivalence when it comes to their heroes — or maybe just superness.

In and out of his black carapace and on the restless move, Batman remains, perhaps not surprisingly then, a recessive, almost elusive figure. Part of this has to do with the costume, which has created complications for every actor who wears it. With his eyes dimmed and voice technologically obscured, Mr. Bale, who's suited up from the start, doesn't have access to an actor's most expressive tools. (There are only so many ways to eyeball an enemy.) Mr. Nolan, having already told Batman's origin story in the first film, initially doesn't appear motivated to advance the character. Yet by giving him rivals in love and war, he has also shifted Batman's demons from inside his head to the outside world.

That change in emphasis leaches the melodrama from Mr. Nolan's original conception, but it gives the story tension and interest beyond one man's personal struggle. This is a darker Batman, less obviously human, more strangely other. When he perches over Gotham on the edge of a skyscraper roof, he looks more like a gargoyle than a savior. There's a touch of demon in his stealthy menace. During a crucial scene, one of the film's saner characters asserts that this isn't a time for heroes, the implication being that the moment belongs to villains and madmen. Which is why, when Batman takes flight in this film, his wings stretching across the sky like webbed hands, it's as if he were trying to possess the world as much as save it.

In its grim intensity, "The Dark Knight" can feel closer to David Fincher's "Zodiac" than Tim Burton's playfully gothic "Batman," which means it's also closer to Bob Kane's original comic and Frank Miller's 1986 reinterpretation. That makes it heavy, at times almost pop-Wagnerian, but Mr. Ledger's performance and the film's visual beauty are transporting. (In Imax, it's even more operatic.) No matter how cynical you feel about Hollywood, it is hard not to fall for a film that makes room for a shot of the Joker leaning out the window of a stolen police car and laughing into the wind, the city's colored lights gleaming behind him like jewels. He's just a clown in black velvet, but he's also some kind of masterpiece.
"The Dark Knight" is rated PG-13 (Parents strongly cautioned). Consistently violent but not bloody. THE DARK KNIGHT Opens on Friday nationwide.
Directed by Christopher Nolan; written by Jonathan Nolan and Christopher Nolan, based on a story by Christopher Nolan and David S. Goyer; Batman character created by Bob Kane; Batman and other characters from the DC comic books; director of photography, Wally Pfister; edited by Lee Smith; music by Hans Zimmer and James Newton Howard; production designer, Nathan Crowley; produced by Charles Roven, Emma Thomas and Christopher Nolan; released by Warner Brothers Pictures. Running time: 2 hours 32 minutes.

WITH: Christian Bale (Bruce Wayne/Batman), Michael Caine (Alfred), Heath Ledger (the Joker), Gary Oldman (James Gordon), Aaron Eckhart (Harvey Dent), Maggie Gyllenhaal (Rachel Dawes) and Morgan Freeman (Lucius Fox).

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Showdown in Gotham Town (Published 2008)

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Movie Review | 'The Dark Knight' The Dark Knight NYT Critic's Pick Directed by Christopher Nolan Action, Crime, Drama, Thriller PG-13 2h 32m Dark as night and nearly as long, Christopher Nolan's new Batman movie feels like a beginning and something of an end.

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Anyone who knows me knows that I'm a massive Marvel fan. My room is covered with posters of various movies, I attend every Thursday night premiere with pride and Captain America merchandise makes up the majority of my wardrobe. I love Marvel and I love the movies they make; I'll defend the Marvel Cinematic Universe forever. But I have to give credit where credit's due. The MCU doesn't have the best superhero movie of all time. That title goes to Christopher Nolan's cinematic masterpiece, "The Dark Knight."

"The Dark Knight," released in 2008, is the second installment in Nolan's Batman trilogy. With Christian Bale in the starring role, "The Dark Knight" provides a more mature, more advanced Batman than "Batman Begins." And that means more advanced villains and a higher-stakes plot, too. Between incredible acting performances from the entire cast, tension grounded in real life and an ending no one could expect, "The Dark Knight" establishes itself as the untouchable best on-screen comic book adaptation. Despite my diehard love for Marvel, I'm highly doubtful anything can beat it.

First off, the acting. The movie is most well-known for Heath Ledger's terrifying interpretation of the most iconic Batman villain, The Joker. Ledger, who sadly passed away before the movie's release, won an Oscar posthumously for the role. His performance is one of the reasons - quite possibly the main reason - as to why "The Dark Knight" is so good. Ledger delivered a different interpretation of The Joker than previous adaptations - something darker, something truly unhinged. Previous Jokers were a little more lighthearted, a little bit more childish, while Ledger's Joker is anything but. He's insane, untamable and unpredictable. You truly never know what he's going to do next. He serves as a perfect contrast to Bale's Batman, who's all about planning and making things go his way. Heath Ledger's Joker is no longer just a character on a page, he's brought the supervillain into the real world. All the terror he causes is plausible, from blowing up hospitals to putting the citizens of Gotham in impossible situations, making it all the more terrifying. His performance set the precedent for comic book villains to come: Ledger's Joker is not only the best Joker, but the best comic book villain of all time.

The other villain in the film, Two-Face, portrayed by Aaron Eckhart, doesn't start as a villain at all. He's Harvey Dent, the newly elected Gotham District Attorney, who's feared by criminals and mobsters alike. He's often called Gotham's "white knight," and nearly everyone in the film places their faith in him. Batman even believes that if he can further Dent's career, he can retire the Batman mantle. However, Dent's assertation that, "you either die a hero, or live long enough to see yourself become the villain," proves true. The Joker preys on Dent's greatest love, Rachel Dawes, and involves them both in a plot which kills Rachel and leaves Dent with half his face burnt off - hence, the name Two-Face. Dent's transformation from hero to villain is one of the best arcs in the film, and the most underrated. When I watched the movie for the first time, I never expected the transformation. It shocked me to my core and made me see the movie in a whole new light. Upon rewatches, the slow slip of Harvey Dent into a true villain never fails to surprise me. Eckhart perfectly portrays both Gotham's golden boy and the terrifying Two-Face, making the character's transformation that much better. Though he's overshadowed by Ledger's Joker, Dent is an important piece of the film, and it wouldn't be the same without him.

While no one else in the film holds a candle to Ledger and Eckhart, the entire cast delivers great performances that keep the audience invested. Bale's Batman is the most realistic version of the vigilante, and his Bruce Wayne is the perfect playboy with an undertone of vulnerability and loneliness. His motivations are clear and realistic, and his desire to make Gotham a better place truly shines. He's supported by Michael Cane's Alfred, which is by far the best Alfred adaptation to date. He truly cares for Bruce and the Wayne family, but balances this care with sass and sanity, grounding Batman himself. Wayne is also supported by Lucius Fox, portrayed by the legendary Morgan Freeman. Batman gets all his tech from him, and Fox, similar to Alfred, balances his care for Wayne with disdain at some of his choices. Lastly, Gary Oldman's Commissioner Gordon adds yet another layer of depth to the film, still making an impact despite all the other momentous cast members. Gordon's unwavering belief in the power of Batman is a key component of the film and its ending.

The cast is probably the number one reason for the film's success, but I believe its ending is what has really solidified it into cinematic history. Unlike every other comic book adaptation, "The Dark Knight" doesn't end on a good note, although Batman still saves the day. He ends up taking the fall for Two-Face kidnapping and nearly killing Commissioner Gordon's family, which allows Dent to remain Gotham's symbol of hope. Batman is vilified throughout Gotham, the city never knowing who truly saved them. Since the public never witnessed Dent's transformation into Two-Face, he remains Gotham's white knight and sends the city into an era of peace. But Batman is the man behind the scenes, a silent guardian, a dark knight. Batman saved the city, but he couldn't save himself. He willingly took the blame for something he didn't do because he knew that's what the city needed to thrive. It's not a typical ending, especially not for a superhero movie. But that's what makes it so incredible. Batman isn't a hero in the traditional sense at the end of this one, he simply did what he needed to do. And that's what makes him a true hero.

There are countless reasons why "The Dark Knight" is the best superhero movie of all time. While Marvel movies will forever hold a special place in my heart, I'd be lying if I said they could compare to Nolan's incredible adaptation. With legendary performances from the entire cast, a plot that kept me on the edge of my seat and an ending I will never forget, "The Dark Knight" solidifies itself in cinematic history. Everything came together to make this movie phenomenal, and I'm confident it will remain the best comic book adaptation of all time.

Shannon Moore can be reached at [email protected].

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Why 'The Dark Knight' is the best superhero movie of all time

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Anyone who knows me knows that I'm a massive Marvel fan. My room is covered with posters of various movies, I attend every Thursday night premiere with pride and Captain America merchandise makes up the majority of my wardrobe. I love Marvel and I love the movies they make; I'll defend the Marvel Cinematic Universe forever.

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I’m a stuntman who has worked on ‘The Dark Knight’ and ‘Star Wars.’ Here’s what it’s like working with A-list stars, and getting set on fire.

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Stuntman Steen Young explains what it’s like working on movies like “The Dark Knight” and “Star Wars.”

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The Dark Knight completely changed the Batman franchise. With the buffed-up pomposity of 1997's Batman & Robin still ringing in movie-goers' ears, it was time to introduce fans to a new kind of superhero. Christopher Nolan laid much of the groundwork with his 2005 offering Batman Begins, but the Dark Knight reached new heights. Here was a superhero film with real moral complexity. As if that wasn't enough, it boasted a brilliant score by the enfant terrible of the Hollywood soundtrack, Hans Zimmer.

When Nolan asked Zimmer to compose a score for The Dark Knight, the composer came back with a request of his own. He'd been planning to collaborate with fellow composer James Newton Howard for some time, and this seemed like the perfect opportunity. He asked if Howard could come along for the ride, and Nolan agreed. The pair quickly set about establishing separate themes for the dual personality of Bruce Wayne and his suit-clad alter ego, Batman.

Zimmer was keen to craft something that sounded genuinely new, so he employed electronic instrumentation, which he blended with the score's orchestral elements. Working closely with members of London orchestras (the UK still boasts some of the best classical musicians in the world), Zimmer crafted a near-perfect score. Christopher Nolan was so impressed that he ended up putting the score very high in the mix during the edit. "I told Chris the music was too loud-you couldn't hear the lines," Zimmer recalled during an interview with Vanity Fair. "He said, 'I wrote them. I can do what I want.' He was right; people do remember the lines. He could have done 200 different cop-out endings, but he put that ending on.The composer wen It's hard to pull off a satisfying ending, if you're that ambiguous. One second longer, or one sentence or note different, and it would have been a different movie."

One character Nolan wanted Zimmer to pay particular attention to was the Joker. The character was the subject of their earliest conversations about the score. Nolan would send Zimmer stills and segments of footage so that he could see how the villain was evolving. His dark, maniacal energy seemingly rubbed off on Zimmer, who would later say that he had no intention of writing a Hollywood blockbuster score; he wanted to write "something people could truly hate," as he put it. "I made the conscious decision to go out there on the edge; that was the first step I took, he continued. "And the great thing about working with Chris is that when I go, 'maybe I'm going a little too far off into the deep end', he'll push me a little further."

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Hans Zimmer discusses his iconic 'Dark Knight' score

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Just as Christopher Nolan's 'The Dark Knight' completely changed the Batman franchise, the score Hans Zimmer provided reinvented the Hollywood soundtrack.

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Every choice you make, means something.