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The Killing Joke

Scott Von Doviak — Tue, 10 Feb 2009 18:00:00 GMT

For some fans, it won’t be enough for Heath Ledger to win a posthumous Academy Award for his performance as the Joker in The Dark Knight. The not-at-all-crazy folks at the new site The Ultimate Joker are taking it a step further: they don’t want anyone else to ever play the role again.

“They've launched a petition calling for studios to withdraw the character for good from any future Batman movies, a somewhat strange request given all the actors who have stepped into the Joker's murderous shoes on screens large and small,” according to a report at Wired.com. “We truly believe Ledger's performance as Joker is the best an actor could ever do," the site's team leader, Fer Barbella, told Wired.

Despite this belief, the team of Ledger enthusiasts is restricting their petition to big-screen, live action portrayals. “Television and animation is off our radar,” Barbella says, before conceding that he enjoys the work of Cesar Romero and even Jack Nicholson in the role of the clown prince of crime.

If you’d like to join this very important crusade, check out the Ultimate Joker site. It’s a shame, though – why couldn’t somebody have thought of this tactic in time to prevent Steve Martin from taking on the role of Inspector Clouseau?

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Jokers Wild About Heath Ledger's Oscar Chances

Screengrab Review: “The Dark Knight”

Scott Von Doviak — Thu, 17 Jul 2008 12:00:00 GMT

Christopher Nolan’s 2005 franchise re-launch Batman Begins ended with a tantalizing tease (lifted from Frank Miller’s comic book reboot Year One) that all but guaranteed a sequel: Lt. James Gordon (Gary Oldman) revealing the calling card of the new freak in town – a Joker, of course – and implying that by his presence, Batman has raised the stakes for theatricality and large-scale actions among the criminal element in Gotham City. To mostly satisfying results, the highly anticipated and insanely hyped follow-up, The Dark Knight, takes that idea and runs with it. The only problem is, it runs a marathon when a 10K would have sufficed.

As The Dark Knight opens, a new day has dawned on Gotham, with fresh-faced District Attorney Harvey Dent (Aaron Eckhart) leading the charge. Along with his assistant and girlfriend Rachel Dawes (Maggie Gyllenhaal replacing Katie Holmes, an upgrade in every conceivable way), he has put mob boss Sal Maroni (Eric Roberts) on trial and is closing in on the underworld’s money laundering operation. But he requires a little clandestine help from the city’s resident masked vigilante, who he doesn’t realize is, of course, Rachel’s “psycho ex-boyfriend” Bruce Wayne (Christian Bale).

Crashing the party is a much more dangerous psycho, his scarred face smeared with greasy clown makeup. He cuts a deal with the mob to rid them of the Batman in exchange for half their assets, and the wiseguys are forced to take this Joker seriously once he starts eliminating high-profile targets, including the current police commissioner. It soon becomes clear that the Joker isn’t in it for the money; he’s an unpredictable agent of pure anarchy, looking to reshape Gotham City in his own twisted image.

The Joker, you may have read, is played by the late Heath Ledger in his final full performance. Last week I wrote this cranky post about the somewhat unseemly hype surrounding Ledger’s Oscar chances. I’m still not crazy about all that, but there’s no denying that Ledger delivers the goods. He’s a mesmeric force burning through The Dark Knight like a shooting star – you literally can’t take your eyes off him, and when he’s not onscreen the movie misses him terribly. His Joker isn’t Nicholson’s baggy-pants comedian or Cesar Romero’s hooting harlequin; he has no name, no past, no future, no rules and no reductive “mommy never loved me” back story (or rather, he has a bunch of them, and they all contradict each other). He’s pure, unfettered chaos, and in Ledger’s portrayal, the comic book icon finally becomes one of the great screen villains.

Through its first ninety minutes or so, The Dark Knight is a worthy showcase for him. Nolan manages to keep a lot of plates spinning at once, using the insistent, earworming score by Hans Zimmer and James Newton Howard to make action in disparate locations seem like it’s all part of the same epic sweep. But he has the same problem here as he did in Batman Begins; he’s really good at getting all the parts of the engine tuned up and revving at full force, but he has a much harder time shutting it all down. In its protracted final act, The Dark Knight blunders down some blind alleys and runs through a series of false climaxes en route to the finish line. There’s the matter of introducing another supervillain late in the game, a temptation the Batman series has rarely been able to resist. Here it’s the coin-flipping Two-Face, who has been given short shrift twice now, although admittedly he fares better here than when Joel Schumacher turned him into Jim Carrey’s cackling sidekick in Batman Forever. He does have an arc, but honestly, we don’t care about it as much as we should – which leads to the other big flaw Knight shares with its predecessor.

Nolan and his co-screenwriter (and brother) Jonathan Nolan want to make sure we’re aware that what we’re watching is a cut above the usual summer superhero fare – that it has layers of psychological depth that set it apart from your Hulks and Iron Men. To that end, they have a bad habit of explicating their themes in the dialogue, so that every character becomes an armchair psychologist or amateur sociologist at one time or another. This results in some ponderous musings on morality, madness, fate and the nature of heroism, all of which weigh down the movie in the home stretch. The filmmakers would like to think The Dark Knight is about the battle for Harvey Dent’s soul, and by extension, that of Gotham City, but we know better. It’s all about the Joker, and every minute he’s not on the screen is a minute we’ve been robbed. Heath Ledger left us wanting more, but the same can’t quite be said of The Dark Knight.

Related:
Batman: The Lost Years
The Joker's Viral Marketing: Threat or Menace?

Jokers Wild About Heath Ledger's Oscar Chances

Scott Von Doviak — Wed, 02 Jul 2008 20:15:00 GMT

From somewhere near the intersection of Hype and Necrophilia comes this AP report assessing a dead guy’s Oscar chances for a performance none of us regular folk have seen yet. I realize it’s rare to find anything crass or tasteless about the Academy Awards, but even by the usual standards this piece sticks in my craw. (And I really like to keep my craw free of offending blockages.)

In case you’ve been doing missionary work with that recently discovered tribe in the Amazon, it seems that Heath Ledger, who died in January, plays the Joker in the upcoming Batman movie The Dark Knight. Within minutes of his death there were murmurs about a possible posthumous Oscar nomination, but that was before anyone had seen his performance. Now that a few insiders have seen it, the murmurs have become a dull roar that promises to become much, much duller but totally inescapable over the next six months or so.

“Jack Nicholson's Joker was a blast,” writes David Germain. “Heath Ledger's Joker is as dark and anarchic a figure as Randle McMurphy in One Flew Over the Cuckoo's Nest, the role that brought Nicholson his first Academy Award. Ledger's performance in the Batman tale The Dark Knight is so remarkable that next Jan. 22, the one-year anniversary of his death, he could become just the seventh actor in Oscar history to earn a posthumous nomination.”

Germain goes on to quote an assortment of luminaries, all of whom agree that Ledger is Brando, Olivier, Nicholson and Cesar Romero all rolled into one. I hope it’s true, and I am looking forward to the movie and the performance, although the hype is beginning to make my left eye twitch uncontrollably. Is there not something a little unseemly about the need to turn Ledger into another James Dean? Germain writes, “The aura surrounding Ledger since his death is a sign that, like Dean, he could endure as a mythic figure of talent silenced before his time…That will not necessarily improve his Oscar chances. Dean had two shots after his death and lost both.” Gee, he must have been all broken up about that.

Related:
The Joker's Viral Marketing: Threat or Menace?
Batman: The Lost Years