Dating to relating book review

And Phoenix has found a Joker laugh that’s up there with the best – a glass-shattering, half-forced cackle which you assume Arthur workshopped as a contrast to the horrible hysterics he’s forced to endure on a regular basis.

dating to relating book review-23

Since the post-Vietnam transformation of World War II into the “good war” and the labeling of its veterans as the “greatest generation,” the growing interest of younger Americans was fed by a “memory boom.” It spawned a retelling of the stirring events of 1941-1945, based heavily upon exciting but uncontextualized personal experiences.

Popular books such as those offered up by Tom Brokaw and Stephen Ambrose, chatroom debates, World War II relic dealers, reenactment groups and high budget documentaries — including a variety of well-received Pearl Harbor film projects — all, according to Rosenberg, ultimately helped to erase “the boundaries between entertainment and education and between memory and history.” The success of 2001’s blockbuster Pearl Harbor rested on its total embrace of greatest generation imagery, its willingness to downplay or ignore historical controversies, and its marketing campaign that reinvigorated interest in the good war in ways that continue to blur the demarcation between history and memory even today.

Rosenberg argues that, even in the immediate aftermath of the Japanese attack on Hawaii, the popular rallying cry to remember what happened on December 7, 1941, had different meaning for different constituencies.

Indeed, she asserts that “Pearl Harbor `lives’ less as a specific occurrence in the past than as a highly emotive and spectacularized icon” that served the cultural and social needs of the wartime generation and continues to touch Americans today.

Somehow, this deep sympathy persists even as Arthur starts to cross unconscionable lines.

By the film’s charged, devilishly brilliant final act, you feel Fleck’s rage at the injustice of the world so overwhelmingly that while his actions can’t be justified, they’re clearly understood.

That Joker was directed and co-written by Todd Phillips – best known for the Hangover trilogy – makes this all the more remarkable.

Phillips and the Ace of Knaves have turned out to be the perfect marriage of filmmaker and material; practically every choice is on the money.

Losing 52lbs for the part, Phoenix twists his skeletal frame into unsettling configurations, while he runs in a broadly comic way that looks like he has oversized shoes stuck to his soles at all times.

Some may feel a tinge of disappointment that Phoenix’s harlequin of hate isn’t the fully formed, gleefully cruel, criminal mastermind of the comics – this is an origin story, after all – but there are several distinctly Joker-esque sequences we won’t spoil here.

But his life only truly starts to spiral after a violent encounter on a subway car kickstarts a terrifying transformation. Far from the altruistic entrepreneur of Bat-dads past, Cullen’s Wayne is a loathsome one-percenter who unapologetically declares Gotham’s citizens ‘clowns’ on TV.

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