5/5

jetzt habe ich ihn endlich auch gesehen, und zwar im Metropolis in Köln in der Originalversion. und es war der tolle film, den ich erwartet hatte. heath ledger als der joker ist das absolute highlight, das liegt daran das der Joker sowieso der beste batman-character überhaupt ist und das heath ledger ihn hervorragend spielt. ich würde sogar so weit gehen, dass er ihn besser gespielt hat als jack nicholson damals, und mich ebenfalls für einen posthum verliehenen oscar aussprechen. make up und kostüm ist gerade beim joker natürlich auch sehr wichtig, ebenfalls großartig. trotzdem gibt es viele andere tolle charaktere: harvey dent aka two face, morgan freeman als ceo von wayne enterprises, gary oldman als commissioner gordon, christian bale als batman ist auch nicht schlecht, maggie gyllenhaal ist auch sehr viel besser als katie holmes. auf jedenfall der beste batman film seit batman, vielleicht sogar besser als batman, da lege ich mich jetzt noch nicht fest.
was auf jeden fall gut rüberkommt ist dieser zwiespalt batmans, dass er auf der seite des rechts stehen will, aber gleichzeitig selbstjustiz ausübt, dass er gotham city beschützen will, aber dadurch auch in gefahr bringt. die ganze atmosphäre ist, wie ja auch in batman begins schon, sehr düster, was dem film gut tut und vor allem dem batman-fan sehr gut gefällt. an das bunte batman & robin erinnert man sich ja nur ungern zurück, das auch mit vielen stars besetzt und teuer in der produktion war. danach hat man dazugelernt und jetzt ein meisterwerk geschaffen.

more animals

Leemos en la Wikipedia:

Multiverso es un término usado para describir a un hipotético grupo de todos los universos posibles; generalmente usado en la ciencia ficción, aunque también como consecuencia de algunas teorías científicas, para describir a un grupo de universos que estan relacionados (universos paralelos). La idea de que el universo que se puede observar es solo una parte de la realidad física dio luz a la definición del concepto "multiverso".

A continuación os vamos a contar como usa la factoría DC Comics (Supermán, Batmán...) el concepto de multiverso en sus obras, y como ello permite que dos Batmán o dos Supermán coexistan en las mismas páginas, proveniendo ambos de universos distintos...

El Multiverso es uno de los hallazgos clásicos de los cómics de DC y, a la vez, uno de sus mayores quebraderos de cabeza. En los tebeos de la editorial, varios personajes iguales pueden coexistir en las mismas o en diferentes página. Eso significa que, sin problema, se pueden ver dos Superman, o dos Batman o dos cualquiera. Cada uno de ellos viene de un mundo distinto.

Sin duda, la idea del multiverso ha permitido historias clásicas de la editorial, como todos los cruces entre la JSA y la JLA previos a Crisis en Tierras Infinitas. Además, a media que DC iba comprando otras editoriales, los personajes de éstas se incorporaban a la continuidad de la editorial simplemente diciendo que venían de "otra tierra".

Sin embargo, hubo un momento en que tantos personajes duplicados, tantas historias paralelas, hicieron difícil que el lector nuevo pudiese leer un cómic de DC sin perderse. Por ejemplo, ¿cómo se entendía que en unos tebeos Batman se hubiese casado e incluso hubiese muerto y en otros se pareciese al que ahora todos conocemos? Eran historias que se publicaban a la vez y que podrían haber vuelto loco a cualquiera que no fuese ya seguidor de DC.

En la editorial, en una maniobra comercial excelente que dio,a demás, un buen resultado en forma de tebeo, se solucionó todo reseteando su historia en Crisis en Tierras Infinitas, la saga que involucró a todo el Universo DC y que sirvió para que todos los personajes empezasen de cero. En principio, gracias a ella, desapareció el Multiverso, pero el paso de los años, y en especial Crisis Infinita y 52, lo han traído de vuelta.

Crisis Infinita fue una especie de homenaje a los 25 años de las primeras Crisis. Desde aquel reseteo, DC había cometido muchos nuevos errores y la continuidad empezaba a tener un embrollo considerable, la mayoría de las veces por culpa de los propios jefazos de la editorial, que crearon sagas y eventos anuales que no hicieron otra cosa que liar la madeja.

Con Crisis Infinita, no se empezó de cero, pero se solucionaron algunos problemas graves de determinados personajes. Y, además, se dio vida a un nuevo multiverso. A diferencia del pre-Crisis, el de ahora es limitado. Sólo existen 52 mundos, de los que ni siquiera conocemos todos, porque van a pareciendo salteadamente en distintos cómics de la editorial, como por ejemplo Cuenta atrás a Crisis Final.

Éstos que vienen a continuación son algunos de los mundos más importantes del nuevo Multiverso:

• TIERRA-1: Nueva Tierra es el nombre oficial del principal mundo DC, el que surge en Crisis Infinita #6. Si estás leyendo cualquier cómic normal de DC, lo más probable es que esté ambientado en Tierra-1.
• TIERRA-2: Un mundo donde todos los héroes pertenecen a la Sociedad de la Justicia. No hay ni Superman (pues era el Kal-L que muere al final de Crisis Infinita, cuando comprueba que estaba equivocado), ni Power Girl, puesto que ella es la que vemos en series como la JSA. Aparece por primera vez en el último número de 52.
• TIERRA-3: Un mundo donde los papeles están cambiados. Es el hogar del Sindicato del Crimen de América, la versión maligna de la JLA. Los héroes aquí son gente como el Joker. Aparece brevemente en 52 y en breve lo vamos a poder ver en la edición española de Cuenta Atrás a Crisis Final.
• TIERRA-11: Todos los héroes de este mundo son como los de la tierra original, pero con los sexos cambiados. Así, Batman es Batwoman, Superman es Superwoman y Wonder Woman es Wonderman.
• TIERRA-12: La tierra del futuro de la serie de animación Batman Beyond.
• TIERRA-19: La línea Elseworld servía a DC para historias fuera de continuidad. COn la llegada del Multiverso, algunas de ellas se han incorporado a las historias oficiales, como el excelente Gotham: Luz de Gas de Brian Augustyn y Mike Mignola.
• TIERRA-22 - La tierra de Kingdom Come (Mark Waid y Alex Ross).
• TIERRA-30 - La Tierra de Superman: Rojo (Mark Millar y Dave Jonson).
• TIERRA-31 - El mundo del Batman maduro de Frank Miller: es decir, de las historias del Retorno del Señor de la Noche y de DK2.
• TIERRA-43 - La tierra de Red Rain (Doug Moench y Kelley Jones) donde Batman es un vampiro tras su enfrentamiento con el mismísimo Drácula.
• TIERRA-50 - Todas las series de Wildstorm viven en este mundo.

Hay muchos más mundos, hasta completar la cifra de 52. Como veis, DC trata, con este nuevo Multiverso, de aprovechar las ventajas de tener varios mundos "oficiales", pero sin que la cosa se le vaya de madre. Lo malo es que Cuentra Atrás es una serie tan aburrida que, de momento, no se está sabiendo aprovechar el potencial de la idea. Veremos a dónde lleva todo y cuánto tardamos en vivir un nuevo reseteo de la historia de DC.

Via | ZonaFandom

OK, OK, OK; I know that this film has been out for weeks now and that pretty much everybody in the world has reviewed it and whatnot; however, I went along to see the film with a group of friends this evening (Mon 1 Sep 08) at the BFI IMAX (the biggest screen in Britain - 8 stories high) and boy-oh-boy, was it worth the wait for the increased cinematic experience!

I am going to use just the one word to sum up this movie, and that word is masterpiece.

This film has shot straight to the top of the list of my favourite movies of all-time (well, thus far of course hehe) and, in my opinion, possibly one which could never be topped by any other film to come.

Watching the movie in the IMAX was an absolutely breathtaking experience. All around me there were audible gasps from the audience every time one of the specially filmed city shots was screened - it was truly difficult not to feel dizzy and slightly nauseous at times! The quality of the surround sound was amazing, as were all of the visual aspects and the soundtrack. The film itself absolutely oozes the image of being sexy, seductive and dark, largely through the title and media surrounding it - however this wasn't just sexy, this was technically sexy! Amazing panoramic views over the Gotham skyline, motors with engines that roared into life, explosions, fantastic camera work and an incredibly rich man with hi-tech gadgets, himself in fantastic Kevlar suit!

The film itself is, for me, pure perfection. If you had to ask me to pick one fault, I would say that I disliked Christian Bale's voice when he was appearing as Batman, although that was only a mild niggle that I had.

I absolutely loved the story line, so many plot twists and turns that I didn't see coming. Sure, some of it wasn't particularly original, however things were done differently from the norm, largely aided by The Joker's own increasingly unique spin on some of the old Batman clichés, keeping things fresh, edgy and manic.

Controversially a 12A certificate in the UK, I frequently found myself hiding behind my hands, the action was that tense and exciting. Some parts were also rather gory, but not necessarily just for the sake of being gory. All of these devices added up to make for one of the most exciting, engaging and terrifying films that I have ever seen.

By the point when the people are trying to flee Gotham by any possible means, I had completely given up on there being any chance of the city being saved. Like the people on-screen, I felt deflated and hopeless. That a film can make me feel exactly what the characters would be feeling is truly remarkable in my opinion. Yes, I knew it was a film, but for once, it seemed that the hero wasn't going to be able to save the day, such was the magnitude of the situation.

I especially liked, as I mentioned earlier, how the plot twists were so unexpected. For example, on the boats, I really had though that I'd figured out the twist and that whichever boat had detonated, would have blown themselves up as opposed to the other. Sitting there feeling smug and clever, I was very surprised to find that nothing was to explode after all - which obviously was the best resolution, but also made me feel like I'd been fooled again, instantly compelling and spurring me on to try again to stay one step ahead of The Joker and the labyrinth of plot twists that he was creating! This really drew me into the story line and helped me to get behind the characters.

The end of the film was also a rather good one I thought. The fact that things don't end perfectly are what, for me, make it so endearing. The reasoning behind it is very sound and for once it's good to see a well thought-out ending rather than the usual 'super-hero saves the day' one. I think that the ending of The Dark Knight bodes very well for the next Batman film that Nolan does - another delectable dark sensory feast no doubt!

The quality of acting deserves a mention, with several actors deserving awards, notably Aaron Eckhart as the District Atourney / Two-Face. No review would be a review without mentioning Ledger's performance - which was absolutely mind-blowingly good. I find him to be on a whole new level to any other actor that I can presently think of, and cannot even begin to compare/relate between Ledger himself or in any of his own roles to Ledger whilst being The Joker. Not since Anthony Hopkins as Hannibal Lecter has there been a villain so terrifying and well-portrayed as Ledger's Joker. Had the unfortunate not happened, I'm sure that people would still have been calling for him to receive an Oscar for his role in this film, and I for one would definitely add my name to that list! In a way this film has become all about him, however having seen his portrayal, I would conclude that this is deservedly so as I have not seen anything is iconic and memorable as his image as the Joker in many a year.

An absolute cinematographic masterpiece.

There simply are no other words for it. For the first time in my life, I have left a movie theatre and not had to words to express how I am feeling - such was the level of my intense excitement and wonderment over it. I am astounded by what I've seen. Film-making at a whole new level. I sincerely hope that Christopher Nolan and the team behind this movie get every single award that they're up for come awards season.

Should you have not yet been to see it, I heartily recommend that you do. If in London, the BFI IMAX is definitely worth going to - and at £12.50, very reasonable - though seats are going fast!

So the bat flew in, my lovely wife dives under the covers and falls onto the floor - I am surprised at first and I too jump under the blanket, just for a second. Then I said Wait a minute - I'm not letting any flying rodent run me out of my home! Fear is my enemy! By then my wife was outside yelling that it was near the window - I swing my stick at it about 5 times, missing all but the last swing which sent it behind my bed where it buried itself beneath my ethernet, telephone and cable wires which run behind my bed. It made itself so small I could barely see it until I shined a light that way. It was just a tiny thing - barely 3 inches tall, its wings tucked underneath itself to make itself as small of a target as possible. "Kill it, Kill it, Kill it," said the wife and kids behind me - But I couldn't do it. All it was trying to do is get back outside, and the way it was shrieking I think it was just as scared of us as we were of it. I couldn't kill it for that. I placed a plastic cup over the creature, trapping it inside. I walked down the block near open sky and I released it. It flew away, hopefully far away. I called out "Today I am Batman and Albion is my Gotham! I conquered my fear and I did it without killing! And my wife replies, "Great, you can have Alfred make dinner."

It conjures up residual memories of Batman fleeing from those ferocious hounds like a shadowy vigilante escaping his fate, vanishing into the darkness. The orchestra wails a commanding masterpiece, like a roaring gust of wind ascending from beneath his cape, lifting him from the murky depths of a dark, despondent city only to have him diminish into the shadows - banished into an oblivion, a fate unfitting for a hero. Because he is, as the narration goes, " the hero that Gotham deserves, but not the one it needs right now", and the music thunders on, tumbling like the stony hedges off a rocky mountain. "And so we'll hunt him, because he can take it", the symphony escalates, suspending my heart like a pendulum swaying slowly, heavily to the haunting ambient. "He's not a hero", the vibrational forces now pulling me into a gripping entanglement of awe, anticipation and calm excitement, "He's a silent guardian, a watchful protector... A DARK KNIGHT". (Oohhh! In your face, Spiderman!) An epic ending befitting a grand tale of destruction and salvation, of a protagonist waging an internal battle between good and evil, condemned to endure in solitude the haunting echoes of a city consumed by crime, continually caught in the crossfires of fear and chaos.

Wow. Quite an extraordinary movie indeed, bolstered by an astounding soundtrack.  And as the last scene demonstrates, the music really is the element that makes it all happen.

Short term bad news. May pay off long term with better movies.

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Gestern Nacht habe ich mit ein paar Freunden den neuen Batman, den schwarzen Ritter („The Dark Knight“) angeschaut. Am Ende gab es in Münchner Mathäser Kino Schlussapplaus vom Publikum. Das habe ich lange nicht mehr erlebt. Ich bin etwas unschlüssig, wie mir der Film gefallen hat. Es war auf jeden Fall modernes amerikanisches Action-Kino. Tags zuvor hatte ich mir zur Einstimmung „Batman Begins“ auf DVD reingezogen. Im direkten Vergleich ist der Vorgänger düsterer. Vor allem Gotham City ist dreckiger, hatte mehr CGI-Effekte. Gezeigt wurde eine verfallene moderne Stadt im Untergang. Im Nachfolgefilm rückt Gotham deutlich ab vom SF-Image und näher hin zur amerikanischen Realität. Das hat mir nicht gefallen. Es war eine x-beliebige US-Stadt und nicht mehr mein Gotham-City, die ich mochte. Sehr schön ist dagegen die Charakterisierung der Figuren. Batman ist der gebrochene Held, der mit sich selbst im Zweifel ist. Hier ist die Figur deutlich besser gelungen als vergleichsweise in Spiderman 3. Hier nervte der Held Parker mit seinem Gejammere. Batman ist eben der coolere Hund. Er war eigentlich einer meiner Helden meiner Jugend. Superman war immer zu clean. Spiderman war schon ok, aber richtig am besten fand ich die Grüne Leuchte und eben Batman. Vielleicht hat Batman einfach bessere Chancen, da man unter seiner Maske wenigstens einen Teil seines Gesichts sieht. Bei Spiderman überdeckt die Maske das gesamte Gesicht und so bleibt die Schauspielkunst verborgen. Ach ja Schauspielkunst: Da wäre vor allem Joker zu nennen. Es macht sehr viel Spaß Heath Ledger bei seinem teuflischen Spiel zuzusehen. Es heißt, dass er der verstorbene Star Anwärter auf einen Oscar ist. Es wäre schon sehr amerikanisch, wenn man diesem Helden den Oscar posthum verleihen würde. Heath Ledger hatte es schwer, musste er doch gegen den Mimen Jack Nicholson antreten, der den Joker im düsteren Batman von Tim Burton von 1989 verkörperte. Nicholson spielte seinen Joker als einen übersteigerten McMurphy oder Jack Torrance. Ledger ist ausgezeichnet, doch Nicholson ist noch eine Klasse besser. Daneben gegangen ist allerdings die Vision Batman als moderner James Bond. Nachdem der Original-Bond zu seinen harten Wurzeln zurückkehrt und den Spielzeugwaffen eines Roger Moore abschwört, hat der moderne Batman moderne Waffensysteme, Fluggeräte, Autos und Motorräder. Mir persönlich zuviel Schnickschnack. Irgendwie erinnert mich die Botschaft des neuen Batmans allerdings an einen Film von John Ford von 1962: „Der Mann, der Liberty Valance erschoß“. Das Motto: „If the legend becomes fact, print the legend.“ Gibt dem Volk einen Helden und setzte nicht immer auf die Wahrheit. So verfährt auch Batman, wenn der gute Rechtanwalt Harvey Dent sich zum weißen Ritter mausert. Seine Mutation zum bösen Two-Face bleibt der Öffentlichkeit verborgen. The Show must go on. Wenn die Öffentlichkeit einen Held braucht, dann gebt ihr einen und zerstört nicht die Illusion. Also ist Batman ein moderner Western. Das Duell ist eben nur bombastischer.

H&FJ Gotham by Jonathan Hoefler & Tobias Frere-Jones

FF Meta Officina Sans by Erik Spiekermann (thanks to Marc Roman.)

Akzidenz Grotesk by Günter Gerhard Lange

TheMix (a shorthand for ‘Thesis Mix’) by Lucas de Groot

Rotis Semi Sans by Otl Aicher
[caption id="attachment_540" align="alignnone" width="300" caption="The Sinatra Treasures by Charles Pignone"][/caption]

Neutraface Display by Christian Schwartz

Mis expectativas no eran esperanzadoras por aquello de que segundas partes nunca fueron buenas, pero la verdad es que me alegro de que esas expectativas hayan sido superadas con creces. La película supera a la antes mencionada Batman Begins, pero la reinvención de Batman que el señor Nolan nos ha brindado no se puede dejar de ver y de ver en el cine, no en casa descargada del eMule. Son dos horas y media en las que nada falta, épica, tragedia, thriller, acción, todo ello unido a interpretaciones magistrales como son las de Christian Bale (Bruce Wayne/Batman), Aaron Eckhart (Harvey Dent) y en especial del fallecido en enero de este mismo año Heath Ledger que interpreta a un Joker muy diferente al que nos dejó ver Jack Nicholson en la primera entrega del Batman moderno en 1989, dirigida por Tim Burton. El Joker de Ledger será recordado siempre porque es la recreación absoluta del caos, del mal y de la locura, un papel soberbio.

En definitiva, no es que sea la mejor película de superhéroes hasta el momento, que lo es, sino que es una de las mejores películas que he visto desde hace mucho tiempo. Muchos pensarán que eso son palabras mayores, y así es, palabras mayores para una película GRANDE de verdad.

Título original: The Dark Knight

Reparto: Christian Bale, Heath Ledger, Aaron Eckhart, Maggie Gyllenhaal, Gary Oldman, Michael Caine, Morgan Freeman.

Director: Christopher Nolan

Productor: Emma Thomas, Charles Roven, Christopher Nolan

Duración: 152 minutos

Estreno: 13 de agosto de 2008 (España)

Género: Acción

País: EE.UU.

Web Oficial:                                         wwws.warnerbros.es/thedarkknight

     basically, the movie is of the action genre. it can best be described as the joker playing grand theft auto in real life. starting out, 

Me gusta el papel del Joker como equilibrio entre todos los personajes. No es típico malo que quiere crear un caos a nivel mundial (véase La Jungla 4.0, ejemplo perfecto de malo-pereza donde el personaje de Timothy Olyphant muere, el público aplaude y se queda como estaba). Joker es la piedra angular que mueve la película, su existencia es la que da sentido a Batman y a Harvey Dent.

Me gusta que Christopher Nolan se haya cortado un poco con los movimientos de cámara en las escenas de acción. Batman Begins en cine fue casi peor que El mito de Bourne. Sí, me refiero a esa tendencia en la que parece que cuanto menos distingamos en una pelea, mejor. Quedaba bien en Salvar al soldado Ryan y en Gladiator porque no era muy acusado y en todo momento distinguías lo que estabas viendo. Lo justifico si la intención es desorientar al espectador durante un momento concreto, pero abusar de ello en todas las escenas de acción me parece excesivo. Creo que en este ejemplo queda suficientemente claro a qué me refiero.

Me gustan las armas elegidas durante la película así como sus efectos de sonido. Mención especial a la Glock 18 y a la Smith & Wesson M76 que utiliza Joker. En particular, esta última creo que es una elección muy acertada: un arma barata que tuvo su eclosión durante la Guerra de Vietnam (guerra sucia y llena de desequilibrios y secuelas mentales para los que combatieron en ella) y estaba dedicada a operaciones clandestinas. Es el reflejo perfecto de la mentalidad del Joker en un subfusil. Armas atípicas para un personaje atípico.

Me encanta que no salga Katie Holmes. ¿Hay algo más que decir al respecto? Sí. Podría no salir también Maggie Gyllenhaal. Me parece que ambas elecciones son un tanto cursis y es un papel bastante petardo. No obstante, me encanta el desarrollo de su personaje en esta película. Quien la haya visto sabrá a lo que me refiero.

Me gusta la caracterización del Joker: el traje hortera hecho a medida (aunque he visto alguna que otra cosa en H&M que se le parece), el pelo, el chaleco... Me encanta el aspecto grunge que le han dado, lejos de la perfecta uniformidad del Joker de Jack Nicholson que, con todos mis respetos, ahora parece más un payaso inofensivo. Mención especial a la voz en inglés: sin palabras. Creo que es una película para ver en versión original. Este joker creará escuela y dejará secuelas.

Me gustan los movimientos de los equipos SWAT. Por fin tienen un aspecto profesional y no parecen Los Hombres de Harrelson de los años 70.

Me gusta la banda sonora. Hans Zimmer y James Newton Howard recuperan parte del clasicismo que le dio Danny Elfman en las primeras películas y vuelve a hacer que ver a Batman por las calles de Gotham (o debería decir Chicago) te ponga los pelos de punta.

Me gustan las frases del Joker. En particular: "Soy un hombre de gustos sencillos. Adoro la dinamita, la gasolina y la pólvora. ¿Sabes qué tienen en común? Que son baratas." Esto me remite de nuevo a la M76.

Me gusta Bruce Wayne. Sí, todos pensamos lo mismo cuando lo vimos salir del helicóptero al aterrizar en su ático: "De mayor quiero ser como él".

Me gusta el principio de la película: el homenaje a Heat con la escena del banco, el personaje de William Fitchner (ya me gustaría que el director de la sucursal de mi banco se comportara así), los planos de los payasos deslizándose entre edificios... No digo más para no entrar en spoilers.

Dark indeed, Gotham is in the grip of the mob, Gordon knows his own police officers are corrupt, Batman’s inspired bat-suited vigilantes and now there’s a Joker in the pack.

Joker was always Batman’s nemesis. Joker never had a plan but was an intelligent opportunist who aimed to cause mayhem. He didn’t want money or power so couldn’t be corrected. The only option was to dump him in the Arkham Asylum until his next escape. Practically the opposite of Batman who never had a plan but was an intelligent opportunist intent on cleaning up Gotham. He didn’t want money or power so couldn’t be corrupted. Batman feared Joker the most because he was the only criminal who made Batman question what he was doing, whether he was helping or hindering Gotham’s efforts to clean up.

Hence much being made of Harvey Dent, the new DA, being Gotham’s White Knight. A man Gotham could really believe in. A man who didn’t hide behind a mask, but was highly visible, his face all over news broadcasts and papers. Aaron Eckhart balances the surface, cocky, ambitious lawyer and the deeper desire to make Gotham a place where love can flourish, where he and Rachel can create a family like the Gordons.

It’s Gordon (promoted during the film to Commissioner) who gets to explain that Gotham gets the hero it deserves. Christian Bale captures Batman’s duality: the millionaire playboy and noctural crime-fighter; the outlaw who upholds the law. An Academy Award nomination for Heath Ledger may in part be motivated by sympathy, but it shouldn’t detract from a fine-judged performance. Heath Ledger’s Joker is no cartoon buffoon, but carries a dark intelligence, the instinct for self-preservation and the inability to take responsibility for everything he does. He points out to Harvey Dent that he was in prison when Rachel was captured so it’s not his fault (although it was his plan). Joker blames Batman for making him who he is and argues the deaths he causes are Batman’s fault (akin to a bomber arguing deaths were the fault of the police for failing to decode the bomb’s location and disarm it in time).

It is a violent film and the violence is mainly hidden by explosions, but not a gory one. Joker does carry a knife and does menace people with it. He always did: guns are too quick and don’t give him time to explain how he got his scars that make him look as if he’s always smiling. And it’s never the same story twice. Joker’s hollow laugh is the theme of "The Dark Knight". Worth watching, but it’s not a children’s film. It was rated PG-13 in the US, but a 12A here when a 12 would have made more sense.

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1408

The Lake House

The following writing includes poems and a political essay on Kanye West's Glow in the Dark Tour.  It's a Hip Hop Politics twist on the Travel Essay.  Based on the adventures I flung myself into during the summer of 2008 in New York City.  I tasted music, theater, nature, bike paths, beaches, conversations with family and strangers.  Political conferences.  The South Asian Journalists Association Convention. 

Dear Readers,

A new fangled Travel Essay on the Glow in the Dark Tour.  Music infuses every nook and cranny of a Gotham summer.  A dusk green audience of tall tall trees, outdoor music events.  There's nothing better than being under the soft warm blanket of night time heat, there's nothing better.  But let's keep it real, Pharrell, Kanye, and Lupe performed inside Madison Square Garden.  And the people power in the room was palpable.  

gLOW iN tHE dARK tOUR: if you quote me, use my name: roopa singh (www.roopasingh.com) or not.  and suffer the fucking karma for generations.  like the rest of us.  :)

poem #1: victory

kanye/

cresting/

cascading lava lcd

surges all over me

a superhero/

victory//

poem #2: stunner journey

diss me/

kick me/

out of school/

please do me the favor

of making all your rules

now a youtube nation of millions

can mouth each lyric

epic/stunner/spirit

poem #3: unicorns in unison

unison in feeling

arms stretched to the ceiling

mixed crowd. a healthy mix. a refreshing hip hop audience a.

healthy(!)

mix (!)

of arms stretched to the cieling

the sight

im still reeling

unison in feeling

arms stretched to the ceiling

healing the sight

im still reeling

poem #4: artists for president

hip hop creation story, bronx glory, no apologies, im sorry, but this urban blight plight, takes flight this way, four elements, here to stay, plus one, remember the learning way, and pray.  lets us pray that the pioneers are able to embrace their fruits. 

hip hop's sons and daughters/the ones heard by most youth

glow in the dark, a clean cut, uncouth

each ticket to the concert, bought, paid for.  money spent.  a lever pulled.  the voting booth.  and its not perfect, but its the truth. 

in these ruthless times, i gotta know these ryhmes.  artists, we were always the new president elects. 

songs are the best at leading movements.  memorized and canonized for life.  by choice.  one-by-one, en masse, by choice.  for life.  the pledge of allegiance, minus all the strife.  album covers our new flags.  emcees our absentee dads.  b-girls our dream moms. 

i don't believe in roll models/ but if i do then im mine/ i got to shine/ i pressed rewind/ all night and all day before CD technology/ took that 12 count pause away.  didnt have to rewind my tapes no more.  calling em mix tapes, even though they were cds and shit.  but you know what, mix-cd as a title never sounded as good as mix-tape.

cd players had that repeat button.  and i could listen to one song all night.  diamonds and pearls, prince.  repeat, shuffle, one, all, everyone, choose your course, made you flinch?  i hope not, unless it was of desire.  of shudder.  of utter one more word and i'll wanna slap your mother.  that's what someone said about my daal.  that it was so good, itd make you want to jump up and slap a cop.  i love you d. 

cd players had that repeat button.  and i could listen to one song all night.  diamonds and pearls, prince.  repeat, shuffle, one, all, everyone, choose your course, under the hoofs of music, our horse thunders the to power our chariot, our cruisin, our low-riding aspirations, our chill.  music fuels us.  politicians use us.  at best.  killing me softly got next.  kill a mill at a time at worst.  so you tell me. 

when our force/is enough to move past/level this plantation/change course.

***

Some reflections on Glow in the Dark.  From your favorite political poet.  Who spent her whole fucking summer in Gotham.  Stay tuned for more. And remember, I'm only human, we're all just Super Heroes. 

Hmm, I wonder.   

Peace,

NaXaL/rs

What a mess. I think I hear Alan Moore chuckling somewhere off in the distance...

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No me gusta que la película no termine antes. Llegado un punto, aunque sigue entreteniendo, se hace torpe y pierde la capacidad para sorprenderte (especialmente el Joker).

No me gusta que Harvey Dent (Aaron Eckhart) sea tan repulsivamente bueno en la primera parte de la película porque se hace increíble en la segunda. Si al menos se dejase ver un ápice de maldad o ambición al principio, quizás habría funcionado mejor.

No me gusta que aparezca el Espantapájaros (Cillian Murphy). Una forma burda de decir "¡Eh! Aunque cambiemos a Katie Holmes por Maggie Gyllenhaal hay continuidad".

No me gusta la tecnología para mapear los teléfonos móviles con imágenes tridimensionales. Si te empeñas en hacer un Batman tan creíble y justificado no lo estropees con algo tan forzado.

No me gusta la escena final del Joker. Tras tanta adrenalina no resulta el clímax esperado, que llega tarde y mal.

No me gusta que Gotham ya no sea una ciudad gótica y oscura. Ahora es simplemente Chicago.

No me gusta que se desaproveche a Michael Caine y Morgan Freeman en personajes tan planos y manidos.

No me gusta tener que escribir un post sólo con las cosas que no me gustan porque pese a todo me ha encantado.

(India's Independence Day)

Dear Readers,
It's been a long time. I shouldna left you. At least, not without a proper "peace see ya later." I left to go have myself the summer of lifetime. And now I'm back. Will you have me?

I'm not your typical blogger. I hate sitting in chairs. And computer light makes my eyes go all Jabberwockey. Saw an illustrative art piece on this very issue today. Crossed one of Steel City's beautiful bridges to the Andy Warhol Museum. Sotheby's is selling Andy Warhol prints for 12 milli and up. And this Pittsburgh based Museum has more Warhol than anywhere. Employees like oompa loompas cataloging thousands of items from Warhol's 600 time capsule boxes. A quote on the wall reads: "Buying is more American than thinking. And I'm about as American as you can get." Warhol. The gateway man for Basquiat, who remains one of the only artists of color to fill Sotheby's venerable halls come American Modern Art auction time.

In the front lobby of the Warhol museum is a stunning office chair installation. An expensive, porous, black office chair spins. It is enclosed in a clear cubicle. The spins are slowly at first, like an office worker taking a twirl for kicks when no ones looking. Then pendelums its momentum to frantically fast. The feeling is of a society sitting instead of standing. Sitting itself out of its mind.

When I say I'm not your typical blogger, I mean I don't love sitting in front of a computer.  In one Tracy Ullman State of the Union skit, "Ariana Huffington" sleeps gripping her laptop, loving it like lovers do. That's not me. I eye my laptop from afar, with tolerance. And open it with efficiency. Dusting it, adjusting it. Occasionally enamored respect. At best.

So I stood up a lot this summer. Moved my legs, filled my ears. And after a lilting summer, I am back to writing. To you.

The next two weeks I am stretching the summer finale, taffy, like a brown-skinned Olympic runner stretches for the finish line. In betwixt California coastline and my mom's home cooking, I'll be posting "A Travel Essay Series: Summer in the City."

" A Travel Essay Series: Summer in the City" highlights include:

Music Reviews: Kanye West's Glow in the Dark Tour, Bruce Springsteen, Freddie McGregor, Cold War Kids, King Kahn, Beth Orton, Lila Downs, Erykah, Brooklyn Hip Hop Festival.

Sports Reviews: Liberty, Mets, Olympics and me and my Big Blue Bike

Water Reviews: Riis, Coney, Waterfalls, random upstate lake, rain, and the fire hydrant outside my Flatbush apartment

Art Reviews: MOMA and Salvador Dali, Samuel Beckett at BAM, SF MOMA and Frida (I admit, I did leave Gotham a couple times), the New Museum and Islam, the Metropolitan Museum of Art and Super Heroes

Virgin Reviews: Summer is a good time to try new things. Even if they are only new to you. Like the Nuyorican Poets Cafe. Like flings. Like writing for mad money. Like spitting a poem off the stage at Prospect Park's Bandshell.

Food Reviews: Ice cream, Fort Greene, Trader Joes. And fruit. Oh, fruit tastes good in the summer. Even better than my mango chicken. Which really says a lot.

Rapping Up:

I'm blessed to be a traveler, the world, many times over. Next best thing to reading a good book. I encourage anyone within ear shot to travel wherever they are. To adventure through life with breath as your Golden Ticket. This "Travel Essay Series" is my homage to trekking uncharted through my immediate surroundings. Gotham. New York City and all that jazz. Stay tuned.

Peace,

N/rs

Poche righe, il resto è immagine.

Un altro film su Batman? Ne valeva la pena. Sul terreno dell’immaginario già consumato si muove qualcosa di autentico, per esempio 152 minuti di un bel film.

Al macero tutta la gomma e la plastica degli altri Batman, via il neogothic di Tim Burton e il lunapark elettro pop di Joel Schumacher. Troppe citazioni che finivano per essere ingombranti, troppo gusto che catturava come una ventosa ma rimaneva statico, troppi squarci sulla monotonia. Il talento dark fa quello che vuole, d'accordo, ma al cinema interessa quello che si può, come diceva un grande regista come Carmelo Bene. E Il cavaliere oscuro s'accontenta e gode.

Cast solido, Gary Oldman che per una volta stacca la spina del lucifero e fa una parte che sembra De Niro, le facce della fedeltà e dell'onestà di Michael Caine e Morgan Freeman fanno il resto.

Storia persino verosimile, con effetti che hanno una loro logica, niente di inutile, nulla di sprecato. Le normali iperboli del fumetto a cui ci si arrende per fiducia, non per resa incondizionata. Di fumetto c’è anche che per oltre due ore e mezza non stacchi l'occhi dallo schermo. E di questi tempi, settati sui 40 minuti di Lost e Dexter (le serie tv che ci nutrono d'immagini come non accadeva da tempo), è un bel risultato.

Per restituire elasticità e morbidezza a un personaggio già intrappolato in una smorfia così come nella fama del predecessore Jack Nicholson (anche se con Joker Nicholson ha semplicemente scherzato…), ci voleva un attore giovane, spregiudicato e versatile, peccato che Heath Ledger non possa godersi questo exploit.

Abituati oramai a una narrazione spesso per ellissi, questo film potrebbe filare anche da solo. Caratteri e personaggi sono ben visibili. L' anarchia e l'ordine, l'eroe, il cattivo e il custode sono definiti ma non scontati e tutti rimessi in gioco fino alla fine, dove la definizione di dark knight è filologia esistenziale.

Scritto diretto e prodotto da Christopher Nolan, contiene più di un esplicito riferimento al cinema di Michael Mann.

Se è la materia ad essere di per sé torbida e complicata, a volte ci vuole uno stile agli antipodi, magari più cristallino come quello del regista di Insider. Una lezione anche per Peter Jackson cui non riesco a perdonare la riduzione del Signore degli Anelli.