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.”
起来在饭店切磋like a virgin. 非常多电影都会有大气钻探优异著作的画面，常常和大旨相切。不过笔者读不太懂这一个歌曲的含意。
好吧，说回电影，乔是组织者，其他名者：Mr white,Mr blue,Mr brown,Mr blonde,Mr pink,Mr orange。那几个中，BLUE 和BROWN基本是配角，ORANGE是卧底，WHITE是个讲义气的人，拼死保ORANGE,而ORANGE和她也是同一类人，他们都讲义气，所将来来及时警察来了，ORANGE也要告知WHITE真相，而WHITE在ORANGE即使快要死了，也要补上一枪，那就叫一报还一报，恩怨分明。那倒是以为像中华的游侠或是郭亚莎的东方之珠黑社会片。
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.
最后说PINK从伊始的吝啬，不愿付小费，到新兴对内鬼的辨析，以及对最后或者的后果，那是团组织中最明智的家伙，彻头彻尾一直在强调professional(没拼错吧？)。相比较Mr blonde伴着民谣三次跳舞二回摇动着剃胡刀把那警察的耳根割下的血腥精粹邪恶，相比较Mr white的诚挚深重，彻头彻尾，此人平素是这种不是老实人，可是邪恶的又非常不足深透的家伙，不发没要求的怒火，中庸而实惠至上的钱物，深藏不漏。最终四个人相互指枪，唯有这男士儿藏到踏板上边放出一记暗枪，然后卷走具有钻石。看到没，受益的最大化者，就是他。那叫什么，那他妈就叫专门的学问啊。那一刻笔者好像看到星仔抽出了那本《歌唱家的本身修养》低头默默阅读。
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.
此刻Mr. blond 反对，说是关于多少个vulnerable的子女的。因此能够看到Mr. blond薄弱精神不正规的同情。
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. white 的臂膀搭在Mr. orange的交椅上，显示他对她的近乎。他夺去Joe的剧本，从对话中得以看来他并不怕Joe，Joe很讲究她。所以最终才有互动指枪的图景。
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.
小boss eddie在车的里面开往酒馆时候车开过去，车碾压过去的就是孔雀蓝的魔术气球(为毛不是其他颜色...所以也隐喻orange is the cop)。(那detail太小了名师说完事后我现去找了一下...- -)
Mr. blond说，want me to shoot this guy?一方面表明他有强力偏向，另一方面表明她对Joe忠心。
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.
片头大家早餐时每个人皆以独自也许八个八个混杂一齐出现的画面，可white&orange却有十分短的类似九分钟的取景和剪切！！！(framing and cuting..)
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.
orange和他那位black cop(his trainer) 在咖啡店第一遍提到那群人渣的时，聊到一人long beach mike，orange说"he's a good guy" 然后black cop立马打断她 说那人是fucking scumbag. orange从此时就开始有个别同情那群坏蛋。后来她和white爆发的真情实意是昆汀从吴宇森（John Woo）的<喋血双雄>(1990) 借鉴来的。早先时期吴宇森先生的东方之珠电影标准套路是 1, 抓人性. (记得Chow Yun Fat的枪战和同不经常候整个飞的圣母雕像还也可以有鸽子不~) 2, 几个互相很有情有义的人，一个被别的三个发卖却不甘于认同这么些结果。然后好惨痛纠结。。 昆汀正是搬用了john woo大监制的牌子人物关系选拔在了orange&white身上。
Mr. white商量Mr. pink的话能够见见他是比较有正义感和同情心的，所以她新生宣誓保养Mr.orange，又亲自杀了他。
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.
离开时的独白 Doesn't somebody want to be wanted 和 love grows Where my rosemary goes的含义不太知道。别的K-Belly的Super Sounds of the 70s 在整部电影中被谈到了二遍，作者也不精晓。
“The Dark Knight” is rated PG-13 (Parents strongly cautioned). Consistently violent but not bloody.
orange是个"疯子"。整篇orange独有七个mirror shot(电影中冒出镜子一般都以隐喻两种相对心情) 且orange的是多少个full length mirror shot在他临走下楼时, 镜子中的照出了多个一体化的人。尽管她下楼，便产生了接下去的各样。要是他不下楼，传说就终止了。他用crazy的话音跟镜子中的本人对话。下楼未来大家在cop的车上听这多少个警察边跟踪他们边说“那卧底正是一神经病”。 他在片尾跟white坦白了谐和正是卧底，那是一个没理智的人做的事，说白了也是一疯子。(pink依然是独一"professional"的) 当然 坦白的缘由也席卷对white的真情实意因素。
THE DARK KNIGHT
white是全片别的一个有mirror shot的人。且她有非常的多个mirror shots. 从一初叶跟pink冲突哪个人是卧底时，镜头在他们侧边，到新兴讲话时非常久都以对着镜子。white对orange平素有emotional attachment, 退换了她的原来的融洽和理智的思路。
Opens on Friday nationwide.
Mr. Brown死在车的里面以往orange就特呆，然后是white拍着她的肩头推耸着往前走.镜头对准他们背影的时候长达好几秒的white手搭在orange肩膀上带着她跑，四个人在一个镜头。(个人觉得十分甜蜜啊....- -)
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.
© 本文版权归小编 廿甘甘 全数，任何格局转发请联系小编。
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).
joe and eddie和Mr. blonde的关联非常的好，即便这点并非多提。从blonde进office伊始, joe就立刻站起来，完全过分热情，对别的人却并不是那样。并且eddie把blonde参加他们新案件也是个不经常决定，joe见white时就算得'its a five man job"。They dont bring new guys but vic(blonde).