![]() ![]() In the blink of an eye, both man and writing implement bounce out of frame, never to be seen again (almost as if they were never there). Barely missing a beat, The Joker grabs the gangster’s head and rams him, face down, on the pencil. His devil-may-care bravado angers the men around him, and one of them (who might as well be wearing a “Disposable Henchman” placard) steps up to take down this lisping, pancake-and-mascara dribbling fop. ![]() He sticks a pencil into a table and says he’s going to perform a magic trick. Second: The Joker again, just entered a roomful of Gotham City mobsters. The sound dies away as the shot (all too brief) goes on-this is the power of cinema: to put us in a headspace other than our own to focus our attentions to a finely honed point to experience, for lack of a better descriptor, the sheer bliss of being alive, even though the world burns. Per his trademark behavior, it would hardly be a surprise if he were to flick his tongue around, wetting his lips and lapping up the chaos he’s created, even in the molecular abstract. His eyes are closed expectantly, lasciviously. The wind whips through his hair, stringy green locks blowing wild. ![]() Two images to begin, the first poetic, the second emblematic.įirst: A nighttime shot of the Gotham City terrorist known as The Joker (Heath Ledger), his head stuck out the side window of a swerving and careening police car. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |