I heard a joke once: Man goes to doctor. Says he’s depressed. Says life is harsh and cruel. Says he feels all alone in a threatening world. Doctor says, “Treatment is simple. The great clown Pagliacci is in town tonight. Go see him. That should pick you up.” Man bursts into tears. Says, “But doctor… I am Pagliacci.” Good joke. Everybody laugh. Roll on snare drum. Curtains.

-Rorschach

And then, just like that, I found what I was looking for. It did take a talking fox for me to figure it out, but I eventually did figure it out. This joke isn’t really just a joke on Pagliacci, it’s a joke on Supermen–everyone who considers themselves to be pillars of support, or such like.

When normal people fall, they are supported by men stronger than them. In time, these men come to be associated with reliability and support. This is not just a function of their superiority, but also a function of people’s longing and search for messianic beings. Maybe, that was why the concept of God was created in the first place–so that normal people could project their frailties on to Him and beg for support.

But, get it. There is no God. All there are, are people projected to a messianic state. If God were actually there, the world would be much fairer. Everyone’s equal for God, and this is a world created by him. So, why is everyone not equal in this world? Why are there poor people? Why are there social outcasts? Why are there dimwits, who’re ridiculed for being slow? If everything was part of God’s design, then why isn’t the playing field level?

There is just one reason–God might just be a sham. Project Jesus to a mythical status, and you have God. Exaggerate stories about an exiled king fighting a couple of goons to get his wife back, and you have Rama. All Gods were strong humans, but humans nonetheless.
Which actually brings me to the epiphany I had, and therein lies the source of my laughter–strong men actually fall the hardest. When normal people fall, they are supported by strong people who act as pillars of support. But, when these very pillars crumble (because of excessive pressure, say), who breaks their fall? Like the mob said at the very beginning of Watchmen

They watch over us, but who watches over the Watchmen?

Don’t you find it funny, when your very notion of strong, weak and stability just blend into one big pile of nothingness? Just like everything else around you? I find it hilarious. But then, I got the joke (courtesy, of course, the talking fox). And, the joke is on us, my dear friend. Laugh, while you can.

God is a comedian, playing to an audience too afraid to laugh.
-Voltaire

Rejoice.

It wasn’t just the hype, but rather the confluence of such amazingly talented people that had me waiting for this flick like I haven’t ever waited before. I had such great expectations out of this movie, that good movies would have crumbled before them. And, that is exactly my point-this film isn’t just good, it’s ‘dark knight’ good, a classic. Right up there with the very best of cinema. This isn’t just a superhero movie, rather it’s a smartly packaged crime drama with enough twists and turns to make the head spin. But then, Chris Nolan, being the director he is, packages these extremely well in the 140 minute run time, even finding time for some really well choreographed action sequences. There is never a dull moment, never an implausible twist, and certainly no loopholes in the script.
The film starts of with a brilliantly conceived and staged bank robbery. The Joker and his goons, wearing clown masks, break into the mob’s bank. Through the robbery, we never get to see the Joker, only hearing about him from the other goons. As the robbery progresses, the sheer brilliance of the Joker’s plan starts to emerge. Playing on his goons’ fears and distrust for each other, the Joker manages to make of with all the money himself. It’s a theme repeated often in the film-the Joker is shown as the purveyor of anarchy, playing on others’ fears to his own advantage, or rather, pleasure. He isn’t “looking for anything logical” and just wants to “watch the world burn”. Heath Ledger doesn’t just play the character, he actually becomes the character. All the mannerisms and mood swings come naturely. Nothing is forced, nothing is put-on. Ledger disappears so completely into the role, that it’s hard to imagine him in any other role.
Bale plays Batman as a tragic and flawed hero. It’s clear from the very first scene that Batman is bleeding and has too much on his plate. Not only is he fighting off the mob, but also a horde of his imposters. The general public can’t decide whether Batman is the messiah Gotham needed, or just a common thug who should be locked up. The cops treat him like a criminal, with only Gordon seeing him for the man he is. With the introduction of the Joker and his anarchy, the debate becomes stronger, with the public blaming Batman for creating the Joker. While Begins focussed on the creation of Batman, this movie focusses on the struggles of being Batman. The personal sacrifices and hard decisions are beautifully protrayed in the movie, with the ending taking the cake, and justifying the movie’s title. By the end, Batman isn’t just a vigilante in a costume, he becomes something else, something much more heroic.
Eckhart excels in the role of Harvey Dent, the courageous new Gotham DA. He is the ‘official’ version of Batman, someone who has vowed to clean the streets of Gotham while working within the framework of the law. His arrival even prompts Bruce Wayne to consider hanging up his boots and start leading a normal life. But then again, things don’t go exactly according to ‘plan’, and Harvey ends up as the villainous, coin flipping Two-Face. How the transformation takes place is the actual crux of the movie, and thus, I’ll steer clear of it.
The supporting cast (if you can call them that) of Michael Caine (as the butler, Alfred), Morgan Freeman (as Lucius Fox, the Wayne Industry inventor) and Gary Oldman (as Lt. Jim Gordon, the only honest GCPD cop), all bring their A-game to the movie, instilling a never-before-seen earnestness to their roles. Maggie Gyllenhaal adds gravitas to the pivotal role of Rachel Dawes (which was played by Katie Holmes in Begins), the love interest of both, Dent and Wayne.
The film raises important social questions about the corrupting nature of power and vesting too much power in one individual, all within the framework of a superhero movie. The scale of the movie is epic, the action is better handled than in Begins, and generally, this is one of the better movies dished out by Hollywood. It’s so good, that the hall actually burst out into applause once or twice during the show I was in. This is one of the few films that entertain, and still have a shot at the Oscars, and for that, it’s really one to be seen!

Okay, I’ll be frank. I’m sick and tired of Zimmer and movie soundtracks-after a while every score starts to sound the same. Having said that, the only reason why I heard this soundtrack was because I thought that the soundtrack might give some clues about the movie. I mean, I’ve been waiting for this flick for a really long time, and with so little information available about it, I had to resort to trawling the soundtrack for clues about the movie!The soundtrack begins on a really irritating note with Why So Serious? which, obviously, contains Joker’s theme. Not a very good start to the whole listening experience, but towards the end of the track, we hear the Joker’s theme as a counter-weight to the two-note Batman motif. The brass swells up and you expect the Batman motif to be played, but the second (descending) note in this motif is a different note, thus establishing (musically) the fact that Joker and Batman are same in a lot of ways, but still different, two sides of the same coin…
I’m Not a Hero introduces us to the theme that Zimmer and Howard wrote for the previous movie, but didn’t use it then. There’s nothing heroic about the theme, it’s more about Batman introspecting and generally feeling burdened with the task at hand. Infact, much of the score is all based on the same thought, with just the last 3-4 tracks establishing Batman as lashing out against the chaos around him and trying valiantly to bring order back to Gotham city. I’m Not a Hero also contains some reprises from Batman Begins, tracks which were used in the movie, but not included on the album. These reprises, though pleasing to hear, reek a bit too much of techno beats. Infact, that is one major grouse I have against Zimmer and Howard-the reprises all have David Arnold-isque techno beats.
Harvey Two-Face, as the name suggests, is the suite for Harvey Dent aka Two-Face. Just like the Joker theme was the counter-weight of the Batman theme, Dent’s theme is the counter-weight of Bruce Wayne’s theme from Batman Begins. Infact, both start of in the same way, but while Dent’s theme becomes optimistic after that, Wayne’s theme plunges into pity, remorse and introspection. This suite greatly fleshes out Dent’s character-it embodies optimism, the ‘whiteness’ of Dent, and his sense of purpose, and is carried on in Blood on My Hands.
Aggressive Expansion starts off with a really pleasing reprise of the orchestral swell from Barbastella. Again, the orchestra pounds away the Batman theme in full glory. It then adds on more reprises, often adding more weight to the themes. The reprises continue with Always a Catch, which has Nycteris in an almost unaltered form.
Like a Dog Chasing Cars, And I Thought My Jokes Were Bad, Agent of Chaos, Introduce a Little Anarchy and Watch the World Burn, though not action cues in the traditional percussion pounding way, can be nothing but those. These epically performed tracks exude the sense that Batman is trying to bring order to the anarchy unleashed by the Joker. These tracks contain bits of Molossus, the new Batman theme (performed valiantly/heroically) and the Joker theme, all inter-mixed in real foot tapping fashion, and if these tracks are anything to go by, the movie’s going to be really really epic in scale!
A Dark Knight is the longest track of the disc, clocking in at more than 16 minutes. It isn’t fast enough to be an action cue, and I can’t see any way how there can be a 16 minute track for introspective scenes. So, the only conclusion I can draw is that something really special is going to happen in the finale of the movie. The track also suggests thus, swinging between heroic and introspective with utmost ease. The 16 minutes fly by and the album is wrapped up on a nice note with the two note pounding Batman theme, followed by a really muted rendition of the Joker theme.All in all, this album is something really grand and entertaining. What is interesting to see is that while the Batman theme has many variations, right from introspective to tragic to valiant to down right heroic, the Joker theme is always played just the way it’s fist heard right at the beginning. The weird little theme, though irritating at first, really captures the essence of the Joker very well. All the tracks are worth mention and this album, like the movie, is something really special….

Many fans complained about the deviation from the original Danny Elfman score in this reboot of the Batman franchise. While Elfman’s score for Batman and Batman Returns was majestic and as proclaimed by Elfman fans, genius, for this reboot, acclaimed composers Hans Zimmer (Lion King, Pirates of the Caribbean: Dead Man’s Chest, The Rock, The Da Vinci Code) and James Newton Howard (King Kong, The Village) collaborate and completely change the music of Batman. Gone are the gothic and (at times) silly Elfman-esque themes. They are replaced by themes which could truly become the voice of the future Batman movies.
I’ve always maintained that music is the actual voice of the film-even masterfully shot scenes require good music to actually lift them up from the mundane. But this score, it left me totally speechless. It not just becomes the voice of the movie, but also of Batman. The tragic yet heroic tone of the music is a welcome departure from the more action oriented writing of Elfman and Elliot Goldenthal (Batman Forever, Batman and Robin). For the first time, someone’s actually gone inside Batman’s head and realized that it ain’t all about the action, instead, it’s more about the character and what drives him than the action (which doesn’t, for a moment take anything away from the fact that the album features some pretty good action cues too).
The album begins with Vespertilio-a percussive piece that uses rhythmic pounds to simulate the effect of a giant bat flapping its wings (or, as a friend pointed out, an approaching storm), which are repeated quite often in the album. Midway through the cue, a two note rising and descending motif takes over. This is the central theme and the best use of it is around the 4-minute mark in Barbestalla, when by mixing it with percussion and a full orchestra, Zimmer and Howard create a sudden and unexpected uplifting theme.
The album also features some cues that could so easily have fit into a horror movie (and thus, blend superbly with Batman Begins‘ central theme of fear). Whispers and dark ambient textures are used well in Artibeus and Tadarida to create an atmosphere of fear.
The action writing makes its first appearance in Myotis, a fast paced track that ends nicely on an emotional note, introducing us to Batman’s main theme. Antrozous is also a pretty decent track, starting out on soft, tension creating track before degenerating into an overdrawn (yet enjoyable at times) cue. It was better represented in the movie, but for some strange reason, the good bits didn’t make it into the album.
Hands down the best track on the album is Molossus. Once it starts, it never quits (often running in my head for a day or two after listening to it!!). The orchestra really rises to Zimmer’s writing to give us the best rendition of the Batman theme in a long long time. Set to coincide with the freeway chase, this track too is better represented in the film (but is awesome on the album too!!).
The emotional and tender writing is undoubtedly Newton Howard. The sweeping treble melodies and the stringy approach create one rising melody after the other. While Zimmer’s basses became the voice of Batman, Howard’s strings became the voice of Bruce Wayne. They not only made us feel for Wayne, but also understand what actually drives him. The alleyway cue (when Wayne’s parents are shot to death) could so easily have resulted in melodramatic writing by a novice (which would most probably have completely put the listener off), but Howard chooses a much more restrained approach to create something really moving. Eptesicus, Corynorhinus, Barbastella and Macrotus feature some of the best tender bits in a long time, and are definitely worth a listen.
To wrap it all up, I’d say that even though a lot of good cues were dropped from the album and some were cut short, and this might not be as much fun as Elfman’s albums, this album is definitely a better piece of writing. While Elfman seldom wrote for Wayne, Zimmer and Howard created stirring cues for him too. And, the action bits are pure genius. More importantly, the score complements Nolan’s vision flawlessly, thus uplifting this movie from the mundane, and into a masterpiece.