Cynical Cinema

Paramount Home Entertainment just sent me all five DVD seasons of The L Word. Five seasons. Of hot lesbians having hot lesbian sex. And something else too. Plot maybe? Dialogue? I don’t really remember. I remember Mia Kirshner, and Jennifer Beals, and Katherine Moennig, Leisha Hailey, Karina Lombard, Marlee Matlin, Annabella Sciorra and Kristanna Loken. And all the other gorgeous women who get naked and have sex with each other. The actual story arc of the first five seasons escapes me. And I get it. This series was created to appeal to the largest possible audience. Lesbian women who like lesbians, straight women who like soap opera drama and girl talk, gay men who like TV about gay culture, and straight men who like watching naked lesbians. But I feel as though a substantial amount of potential for the series is sacrificed in favour of showing incredibly hot naked women sleeping together.

The story arcs I would have liked to see a little more developed are those that deal with the discrimination faced by gay people. In the fifth season, which is being released October 28th by Paramount, there are a few moments that deal with this. There is a character, Tasha, who is being outed as a lesbian and being kicked out of the military. There is another character who reacts to homophobic statements made by a basketball player by outing him as a homosexual. But there is not enough of this stuff, which I find compelling. The rest of the series, and the season, involves lesbian women living in their own, seemingly exclusive, lesbian world, where there are no ugly lesbians, very few butch ones, and virtually no straight people at all. Now, I know a lot of lesbians, and they are, proportionately, about the same as the rest of the world. In that ten percent of them are hot, twenty percent are ugly, and seventy percent are somewhere in the middle.

So to create a world of lesbians in which only the hottest of the hot is one of two things. Either it’s pandering to the heterosexual males who enjoy watching lesbian sex, or it’s just television, where only hot people get roles. Breaking this mold, at least a little, are Cybill Shepherd and Pam Grier, who are not exactly ugly, but they are in their late fifties.

The fifth season is similar to the other four, in that there are soap opera-style relationship troubles, and a lot of hot naked women having sex. In this imaginary lesbian world, it seems that everyone is willing to have sex with just about anyone else. Which means that if you have watched the entire five seasons, you are have seen almost every character on the show hook up with almost every other character, at one point or another. Just about every fantasy men have about two women together is played out, including VIP room threesomes, “promiscuous, debauched lesbians” (in the words of Cybill Shepherd) and even prison sex. Mia Kirschner (Jenny) is still the hottest girl on the show, but now she is also the most irritating. She has written a book, and it’s being made into a movie, and Jenny is the director. She becomes self-involved, and cartoonish with her Hollywood giant ego. Every time she’s on the screen in this season, she isn’t acting so much as purposely setting out to irritate the viewers.

And so, it all comes back to the hot chicks who get naked and sleep with each other. In this season, there are some new ones joining the cast. Elizabeth Keener, as the owner of a new lesbian bar in town, and Alicia Leigh Willis, a gorgeous actress who plays Keener’s lover. The best scenes are between Kirschner and Kate French, who plays the star actress in Jenny’s movie, including a truly bonkers oil wrestling match. There is a heated rivalry between Pam Grier’s bar and the one owned by Keener. The movie becomes a big central part of the season as well. Other than that, I can’t remember if anything else happened. There was too much lesbian sex going on.

I recently made a bold statemtent about WALL-E.  I suggested that it is the greatest animated kids movie ever made.  I am preparing to go out on a limb here once again and make a similar statement about the new Batman flick.  This movie IS the best movie based on a comic book.  Ever.  Picking up where Batman Begins left off, The Dark Knight ups the ante in a huge way.  And where Batman Begins gave us a new, darker, more brooding and conflicted Batman, this movie makes him the darkest, most intense ”good guy” we’ve seen in a long time.

The hype over this movie has been astounding.  Batman Begins of course did a massive box office - More than 200 million overall.  But it found an even bigger audience on DVD, and that means this film will be a serious contender for biggest movie of this summer.  And my prediction here is that it will be.  Amid all the hype for the new Indiana Jones, Iron Man, WALL-E, and countless other blockbusters, The Dark Knight will trump them all.  This is, and will be, the best and biggest movie of the summer.

This is the best movie of Christopher Nolan’s directorial career.  I have liked everything he’s done - Insomnia, Memento, The Prestige, and of course Batman Begins.  But this is a step up from all of those.  This is the best movie of Christian Bale’s career.  He’s been a wonderful actor for a long time, and he has given better performances in more challenging roles (Rescue Dawn, 3:10 To Yuma, American Psycho), but his Batman remains the best ever portrayal.  Same goes for Maggie Gyllenhaal and Aaron Eckhardt.  And this may seem like an asinine statement at first, but I am going to make it anyway.  This is the best movie of Michael Caine’s career also.  I know it sounds insane, and he’s clearly had better and more challenging roles personally, but I dare you to name a better movie in which he starred.

 I can’t say the same for Morgan Freeman, since he was in The Shawshank Redemption and Million Dollar Baby and Unforgiven and Dreamcatcher.  Which brings me to Heath Ledger.  Of course, The Dark Knight has benefited from the publicity surrounding his death, and it will certainly add to the box-office totals here.  But what could have been looked on as a performance made larger by Ledger’s untimely death becomes exactly the opposite.  His death looms larger over cinema in general because of this performance.

Not only is this Ledger’s best movie, it is his best role, best performance, best everything.  His joker is no Jack Nicholson Joker.  Whereas Nicholson was magnetic and charming and insane and larger than life in the Tim Burton - Michael Keaton Batman movie, it was still a role he could have done in his sleep.  (Nicholson was basically playing the exact same character in The Departed, wasn’t he?)  But Ledger’s Joker goes much, much deeper.  His makeup alone is worth the price of admission.  No pancake clown makeup for him, this is the look of a demented individual who wouldn’t be out of place as the villain in one of those idiotic Saw movies.

In fact, a few times in this film, the Joker enacts scenarios that wouldn’t be out of place in one of those idiotic Saw movies.  One of the things I have always hated about sequels is the fact that with the first movie out of the way, there is no longer any need for character development.  Which means the second installment is all explosions and chase scenes.  In The Dark Knight, however, the Joker needs no character development.  This is what makes him so bad, so evil and so genuinely scary.  He just IS.  We think, just for a moment, that we’re getting some kind of “window into his soul” - you know, mommy never cared enough, and daddy was a mean drunk - that kind of thing - but that’s nothing more than a red herring, one that we are relieved to find out is just another manifestation of the Joker’s lunacy.

Ledger is all tics and quirks and leering evil as the Joker.  He has a certain amount of charm in his vocabulary, but not in his demeanor or his soul.  He positively oozes a sinister vibe.  And his motivations are the key to the sheer evil of his character.  The Joker is not motivated by money or power or any of the things that a standard villain has to explain their behaviour.  He is motivated simply by things that amuse him, and the fact that those things include murder, mayhem and chaos make him impossible to categorize, or for any of the other characters to really understand.  As Michael Caine says in one impressive speech:  “Some people just want to see the world burn”.

Batman undergoes a little bit of development here though - coming face to face with this incredible Joker, a lunatic that at first doesn’t seem to be a real problem, but eventually forces everyone, including Batman, to take a look within themselves and really examine their true nature.  And Bale spends the entire movie looking at the two sides of his own persona - a theme that recurs with most of the characters in the film.  But the real transformation in the film belongs to Aaron Eckhart as crusading D.A. Harvey Dent, who metamorphasizes from squeaky clean tough guy into the villain known as Two-Face.  He is part of a love triangle involving Maggie Gyllenhaal (standing in for Katie Holmes as Rachel Dawes) and Bale as Bruce Wayne/Batman.

The action sequences are terrific, but they are not what drives the story.  The relationships between characters do.  The standoffs between Harvey Dent and Detective Gordon (Gary Oldman) are almost as intense and interesting as those between Batman and the Joker.  This really is the Joker’s movie, and had Heath Ledger been alive today, this film would have catapulted him into the upper echelons of actors.  I think he will be up for an Oscar for this performance, and I think he should win it as well, but it will be bittersweet.  Again, not because he died and is therefore the sentimental favourite, but because the defining performance of his career was tragically his last.

Batman Begins was a revelation in comic book movies because of the incredible cast and different tone.  The Dark Knight has an even more brilliant cast, and a darker tone, and it’s just the ideas and feelings of that first movie done to perfection.  It is a meditation on human nature, the nature of heroism, the herd mentality of the masses, the courage to take a different direction, and a movie that has many parallels to today’s reality.  While I wouldn’t go so far as to call it a genuine social commentary, it certainly touches on enough contemporary morays to feel as though it hits home.  This will be the best movie of the summer, and will stand the test of time as the greatest comic book movie ever made.