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After the renewal of 'Batman Begins' and the return to the origins of the superhero myth carried out by Christopher Nolan, the second part of it was expected as the true evolution of the character created by Bob Kane in 1939 in a rewriting environment with no concessions to nostalgia.
Here it is no longer about studying the character from its genesis, supported by an initiatory prologue through the trip to the interior imbalances of a Bruce Wayne who undertakes his stormy metamorphosis in Batman franking his sense of guilt, but in 'The Dark Knight' Nolan, along with his brother Jonathan after the script, undertakes an ambitious adventure conceived as a dissertation on the condition of the superhero, on duality and questioning, social debts and the limitation of moral values when Batman is no longer able to sustain himself under the mask of a subjective identity. All this amplified with the need of a villain as an adversary in the inseparable antithesis between good and evil.
The result has been an unprecedented success for the critics (some have raised it too soon to the pedestal of masterpiece) and public (155.3 million dollars in its first weekend and touching the 500 million without reaching the month of the exhibition).
The purpose, from its innovative notion, was to distance itself from the Manichaeism of gender and avoid frugal escapism to unite the unfailing part of the entertainment with an important existential burden. The story forks on two fronts, the Batman/Bruce Wayne fight against crime in Gotham and his Mafia with the help of Lieutenant Jim Gordon and the new and relentless prosecutor of the Harvey Dent district and the appearance of the sinister Joker, that arises to eliminate a hero who is questioned by the city. Ethics, revenge, violence, anarchy, and democracy are the terms that spice a film that, as in many of the trilogies and following the models perpetuated by famous sagas, is darker and more adult than its predecessor.
It could be seen as a reflection on heroism and its responsibilities since, on this occasion, the character played with solvency by Christian Bale assumes the dilemma of deciding fate leaving aside his heroic vein, in contrast between random choice and disjunctive of the deliberation immersed in the channel of an improbable justice, but from a more skeptical approach to the change in the course of events and the moral and personal choices of its characters, underlining fatalism and suffering, assuming the artifice to investigate the darkest part of the gallery of beings that populate Gotham City.
The symbology and its definition in the genre are once again above any tape seen before, reinforcing the idea of heroism understood as a vital sacrifice that the superhero cannot afford, refusing even the 'status quo', as they settled in the comic book.
The search for hyperrealism, aseptic naturalness within the architectural orb of Gotham, as well as the visual models that it intends to follow, is dismantled and re-erected too easily to be homogeneous. It is what gives dynamism to ‘The Dark Knight’ in its constructive development; it always advocates the constant blow of effect, the theistic turns that do not lose sight of the burden of being a superhero in a flawed world, without recognizing the balance between order and anarchy. The discursive tone of his previous part is supplemented, at times, by an incipient inflection of moderate urgency, which continues to maintain a meaningful sense of suspense with the air of "thriller". Of course, stripped, apparently, of the clichés of fantastic cinema.
It is clear is that, from this moment, things within the adaptations of comics to the cinema will be reconsidered in another way, adapting its principles at the time of launching its accommodating product and putting its sights on this film where quality and the rhythm make it an example to follow.