Yet she was a highly prolific writer who wrote throughout her life, virtually from childhood to the grave.
I have not encountered an American movie — much less an American movie, designed to be a gigantic blockbuster and based on a hugely popular comic book — that is structured as ingeniously and compellingly as this one.
There are so many issues for the writer to address: All these balls must be kept in the air and these concerns must mesh in a straightforward, compelling, swift, action-packed cinematic narrative, consistent in tone and true to its source material. None of the Superman movies do it, none of the previous WB Batman movies do it, none of the Spider-Man movies do it, neither of the Fantastic Four movies do it, and, even after 22 tries, none of the Bond movies do it either.
|How to cite this page||Bruce Wayne, orphaned at eight, wants to overcome his fears and honor his father.|
The Iron Man movies come close — really close. It kind of shocks me that there are people out there who hate this movie — hate it, in a way that only the internet can inspire.
I do not think Batman is a passive character. This sounds like hair-splitting but I think is a key to understanding the success of the narrative and the world Nolan builds here.
Freeze to freeze Gotham City using a giant telescope in order for plants to take over the world in Batman and Robin? To some people, The Dark Knight contains some sort of a political message. The Dark Knight deals with a lot of real-life civic issues, but it remains a drama, not a treatise.
When the screenwriter does his job well, the audience gets sucked into the story and experiences the thrill of drama. When he does his job very well, the thrill of the experience is so powerful that the audience comes back again and again, even though they know how the story turns out.
Spectacle may amaze and movie stars may charm, but if the screenwriter has not done his job well, the movie will still turn out bad and the audience will stay home.
The Dark Knight engages the audience on a level unseen in movies lately, and does so while employing a number of bold innovations, which I will discuss as we move forward.
ACT I begins with a heist sequence: The Joker has hired a bunch of goons to rob a bank owned by The Mob. We know, although the goons do not, that the Joker is, in fact, part of the masked crew.
What do we learn from this sequence? Well, we learn that the Joker is meticulous in his planning and duplicitous in his intent. No one is safe when he is around. He lies when it suits his purpose — his goal is not to impress people with his wisdom but to get them to do something. Further, we learn that he is brave enough, or foolish enough, or crazy enough, to steal money from The Mob.
The robbery also marks a shift in the crime world of Gotham City: The force and density of this sequence often leads people to believe that the Joker is actually the protagonist of The Dark Knight, as he seems to set events into motion. That opening delivers a great deal of narrative for a thrilling six-minute action sequence, and the density of the screenplay does not let up from there.
Next, there are a number of brief scenes outlining the current state of crime Gotham City. The mere idea of Batman, we learn, is scaring ordinary criminals off the streets — one could say that Batman is, in his own way, a terrorist, practicing asymmetrical warfare on the Mob, upsetting the status quo of the criminal population, creating a kind of crime vacuum, which allows a costumed freak like the Joker to flourish.
We also meet, briefly, detectives Wuertz and Ramirez, who will become important later on. Again, it comes down to an issue of trust — this new breed of criminals is just not trustworthy.
Oddly enough, the fact that a costumed freak robbed the bank is of not much concern to Gordon and Batman — they are more excited by the news that the bank belongs to the Mob.
The Dark Knight, among its many interesting quirks, is full of unintended alliances. The Joker gets no more than a cursory glance from Gordon and Batman, who move straight on to discussing how to shut down the Mob banks.
For this daring move, they will need the support of the new District Attorney, a man new to both Gordon and Batman, bringing up, again, issues of trust. It is the next morning.
He then goes to the super-secret Bat-lair to check in with his boss. Bruce, with his bank of computer monitors, keeps a close eye on Harvey Dent, the new district attorney, and now we add another wrinkle to an already corrugated story — Dent is dating Rachel, the woman Bruce turned his back on so that he could devote himself to dressing up like a bat and driving around town destroying private property.
And that includes both fighting The Mob and bedding Rachel. Harvey is, essentially, what Bruce would like to be in an ideal world. And, in fact, in the same way that Bruce created the crime vacuum that allowed the Joker to flourish, he also inspired Harvey to step forward and be Batman Without A Mask — Daytime Batman, which is what Rachel was in Batman Begins.
Later that day, Harvey enters the courtroom for his big day of prosecuting mobster Maroni.
Harvey, we see, is a brave and dedicated public servant — when a witness pulls a gun on him, Harvey punches the witness and then continues to question him.
Canny, effective, willing to bend the rules — in every way, Daytime Batman.[In the following chapter from a critical study of Alcott's fiction, Keyser offers an analysis of Behind a Mask, considering the work in the context of the "Victorian Cult of True Womanhood.
Alcott’s story begins with the four March girls—Meg, Jo, Beth, and Amy—sitting in their living room, lamenting their poverty.
The girls decide that they will each . Behind a Mask was originally published in The Flag of Our Union in Later, in , Madeleine B. Stern republished the story under Alcott's name with a collection of her other pieces.
A Woman's Legacy: An Analysis of Feminist Themes in the Work of Louisa May Alcott Jessica Brook Greene University of Tennessee - Knoxville Alcott's critical reputation was basically negative during the early part of the 20th century, and the neglect.
Alcott Analysis by:Celestina Padilla I began reading The Brothers thinking it would be similar to some of Louisa Alcott’s work I had read previously.
love this analysis! primarily because i’ve long held the belief that ken watanabe was indeed r’as al ghul when we met him in act I and that ducard assumes the mantle of the demon’s head upon his master’s death.
that “r’as al ghul” is a “legend” passed on from generation to generation is .