El Guasón forever

David Denby analiza para The New Yorker la última entrega de Christopher Nolan: "Batman, El caballero de la noche". En cada toma, dice, hay algo de sadismo y de terror, acorde con los tiempos violentos en que vivimos. Ya no se trata de la fantasía y de la comicidad de los Batman de Burton. Clímax, tras clímax, abundan las escenas sin sentido, pero con una música que lo perdona todo, como la inolvidable, entregada y heroica actuación de Ledger. En su acto final, este joven actor, profetiza Nolan, miró al abismo.

Sin embargo, a Chistian Bale no se le mueven ni la voz ni el pelo. Demasiado perfecto en su traje de Armani como un aspirante a Bond, James Bond. Esta vez no es el impresionante actor de "El Imperio del Sol" o "El Maquinista". Calculador y distante, lo único que puede hacer es batir sus alas alrededor de un Guasón que juega sus mejores cartas y le roba todo, hasta la película. Ledger, mucho más joven que Bale y más sabio, ya sin la voz masticada de Ennis del Mar, es el verdadero caballero de la noche.

"It’s a workable dramatic conflict, but only half the team can act it. Christian Bale has been effective in some films, but he’s a placid Bruce Wayne, a swank gent in Armani suits, with every hair in place. He’s more urgent as Batman, but he delivers all his lines in a hoarse voice, with an unvarying inflection. It’s a dogged but uninteresting performance, upstaged by the great Ledger, who shambles and slides into a room, bending his knees and twisting his neck and suddenly surging into someone’s face like a deep-sea creature coming up for air. Ledger has a fright wig of ragged hair; thick, running gobs of white makeup; scarlet lips; and dark-shadowed eyes. He’s part freaky clown, part Alice Cooper the morning after, and all actor. He’s mesmerizing in every scene. His voice is not sludgy and slow, as it was in “Brokeback Mountain.” It’s a little higher and faster, but with odd, devastating pauses and saturnine shades of mockery. At times, I was reminded of Marlon Brando at his most feline and insinuating. When Ledger wields a knife, he is thoroughly terrifying (do not, despite the PG-13 rating, bring the children), and, as you’re watching him, you can’t help wondering—in a response that admittedly lies outside film criticism—how badly he messed himself up in order to play the role this way. His performance is a heroic, unsettling final act: this young actor looked into the abyss".

Fuente: The New Yorker