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Duplicity: Exploring the Many Faces of Gotham
Duplicity: Exploring the many faces of Gotham “And man shall be just that for the overman: a laughing stock or a painful embarrassment.” - Friedrich Nietzsche, Also Sprach Zarathustra The Dark Knight, Christopher Nolan’s follow up to 2005’s convention- busting Batman Begins, has just broken the earlier box office record set by Spiderman 3 with a massive opening weekend haul of $158 million. While the figures say much about this franchise’s impact on the popular imagination, critical reception has also been in a rare instance overwhelmingly concurrent. What is even more telling is that the old and new opening records were both set by superhero movies. Much has already been discussed in the media about the late Heath Ledger’s brave performance and how The Dark Knight is a gritty new template for all future comic-to-movie adaptations, so we won’t go into much more of that here. Instead, let’s take a hard and fast look at absolutes and motives: old, new, black, white and a few in between. The brutality of The Dark Knight is also the brutality of America post-9/11: the inevitable conflict of idealism and reality, a frustrating political comedy of errors, and a rueful Wodehouseian reconciliation of the improbable with the impossible. Even as the film’s convoluted and always engaging plot breaks down some preconceptions about the psychology of the powerful, others are renewed (at times without logical basis) – that politicians are corruptible, that heroes are intrinsically flawed, that what you cannot readily comprehend is evil incarnate – and it isn’t always clear if this is an attempt at subtle irony or a weary concession to formula.
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