If you haven’t already, try The Ruby Kid. He’s fascinating; combining intelligent lyrics with a radical attitude both to reality and rap. Out goes the macho obsession of much mainstream hip-hop, and in come repeated references to the Coleridge, gender and the relationship between the proletariat and the means of production in Marxist theory. With quite some style:

For all those claiming hip-hop’s pussy is where their cock is,
You’ve got a misogynistic Oedipal complex,
You’re raping your mother,
Just stop it.

I like this, I do…

I’m likely to avoid posting for much of the next 3 days; so, as a shortened form of holiday reading, here’s the hugely impressive Green New Deal, on which I’ll write a review in the very near future.

Time for another musical interlude, as I need to go and write Sunday’s post. So, we’ll begin with a little gloom:

Before moving onto what’s undisputedly the sound of an electronic orgy:

And finally:

And with that, good night. Normal service will resume on my part tomorrow.

Inspiration for these has, by now, deserted me. So, the only successful poem I’ve ever written instead:

A tree;
It be.

So there.

I feel lazy at present. So, this post will act as a musical interlude. We open with the dark:

And move onto the slightly strange and fantastical:

And finally, an entirely superior remix of an otherwise cancerously irritating piece:

A proper bassline makes everything alright, you see.

Or rather, The Dark Knight: A Review. In which there may be spoilers, so avoid if you’re interested in watching it uncorrupted.

Heath Ledger may well win an Oscar for his role as the Joker in the latest Batman film. And he may well be posthumously accused of winning that Oscar purely because of its posthumous nature. That’d be a shame - as he probably deserves it.

James made me promise not to include spoilers, so I won’t*. Suffice to say that Ledger’s performance dominates, from the enjoyably confused opening to the character’s eventual demise. From behind the smudged chalk mask which adds so much to the impression of mania comes sheer, random danger, almost throughout. It’s there in the movements, and in the voice. Ledger’s tongue lolls and flaps, barely able to stay inside the Joker’s mutilated lips. The body twitches in line with the character’s own mind, while limbs appear to have a mind of their own on occasion - look for an excited Joker, and they’ll be somewhere else. The voice, meanwhile, sums up the character itself; a low, unsteady croon skittering into gibberish in moments of excitement. Very dark, and very effective.

That’s not to say that the other performances are bad. They’re not; most involved either manage to pull of strong performances, or have roles so peripheral that it doesn’t hugely matter. Christian Bale follows his previous take on Batman well. Aaron Eckhart makes Harvey Dent so irritatingly perfect at first as to make Two-Face seem yet more vile. The rest of the cast - and the film in general - take Ledger’s dark lead, and work it into something worth sitting through. But Ledger’s Joker does set that tone, and so tends to dominate.

And, inevitably, there are problems. Some are mere irritances. Bale’s gravelly monotone when in Bat-mode pushes the stereotype a little too far, while at one point a defendent pulls a gun on the prosecuting attorney while in the dock. I’m happy to suspend disbelief for Batman, or the Joker, or anything that forwards the plot entertainingly - but sometime, it’s just not possible.

Other flaws are more serious. The film’s chaotic motif of fallen heroes and human fallibility should fascinate me; and yet it all felt a little tedious at times. Dent’s fall is done well, and the Joker’s psychotic tricks blur Batman’s lines of right and wrong enjoyably - but it happens to much. The film comes in at a very long 2 hours and 32 minutes and features dilemna after dilemna after dilemna for the forces of law and order. The moral mazes begin to feel forced, included for the sake of pushing character’s boundraries but failing to do so. And with that, the film drags at times. The contrast between the Joker’s capricious anarchism and Batman’s struggle with his conscience is compelling - but if it weren’t for the cracking action scenes that accompany each eruption of that contrast, they’d just get tiring.

Nonetheless, it’s a film worth seeing. Heath Ledger’s swansong as the Joker is superb, and the rest of the cast do enough to not look complete amateurs beside him. It might not be what the pre-release propaganda campaign hyped it to be, but it’s a fun little flick with lots of big explosions and dark plot hooks - enough to fill a long afternoon. And, probably enough for a sadly posthumous Oscar.

*(much)

If all goes to plan, I’ll be on a train when this posts - and away from the internet until Thursday. Through the wonders of modern technology, though, I’ve found a way to inflict my absent self on readers. We begin with a caption competition:

What do you think is going on? Suggestions in the comments…