Written
and Directed by Eric Smigiel
Based
on the DC Comic Characters Created by Bob Kane and Bill Finger
Executive
Produced by Ryan Sciarrotta
Produced
by Eric Smigiel
Cinematography
by Eric Smigiel, Ryan Sciarrotta, Jesse Bravo, Tori Sullivan, Troy Jones,
Brandi Reynolds, Marcos Doyon, Adam Yancey and Ruben Gaboldone
Edited
by Eric Smigiel
Graphic
Design by Stephen Garbesi and Bobby T.
Visual Effects by Andrew Mitchell
Visual Effects by Andrew Mitchell
Music
by Hans Zimmer, James Newton Howard, Shirley Walker, Danny Elfman, Brad Fiedel,
Ehab Tawfik and Wolfgang Amadeus Mozart
Ryan
Sciarrotta ... Bruce Wayne/Batman
Adam
Yancey ... Police Commissioner James
Gordon
Matt
Livingston ... Harvey Dent/Two-Face
Eric
Smigiel ... The Joker
Isaac
Montoya ... Alfred Pennyworth
Tori
Sullivan ... Rachel Dawes
Marcos
Doyon ... Dr. Jonathan Crane/Scarecrow
Tom
Verkin ... Richard Lee Dent
Mark Kruse ... GNN Cameraman
Dominic
Williams ... Lucius Fox/Commissioner
Gillian Loeb
Troy
Jones ... Edward Nygma
Diana
Delgado ... Veronica Vreeland
Kylie
Upton ... Woman At Party
Adam
Clark ... Police Officer
Sam
Hobbs ... Man Running Across Street
Noel
Blair ... Woman Running Across Street
Vicki Lewis ... Party Guest #1
Aleita Kiwanuka ... Part Guest #2
Rosie Aguirre ... Party Guest #3
Emily Warn ... Party Guest #4
Brandi Reynolds ... Party Guest #5
John Barnett ... Party Guest #6
Matt Dyer ... Party Guest #7
Amanda Gozur ... Party Guest #8
Adam Clark ... Party Guest #9
Adelle Lees ... Party Guest #10
Justin Bridges ... Party Guest #11
Junior Oyeyemi ... Party Guest #12
Rachel Maestas ... Party Guest #13
Krystal Jessen ... Party Guest #14
Tim Coggins ... Party Guest #15
Christie Johnson ... Party Guest #16
Following the events of “Batman Begins,” Batman and
newly appointed Commissioner James Gordon decide to enlist Assistant District
Attorney Harvey Dent in their struggle against the escalating brutality of
Gotham’s mysterious ‘Joker Card Killer.’
-----------------------------------------------
With the incredible success and popularity that
followed the release of 2005’s “Batman Begins,” several ambitious fans took it
upon themselves to imagine the continuation of the story in self-created fan
film sequels. The passion of such a gesture obviously reflects on how much of
an impact “Begins” made on people, to the point of making them so impatient
that they couldn’t stand by and simply wait on Warner Brothers to satisfy their
hunger.
Chief among those attempts, in my own opinion,
would be 2006's “Batman: Dark Descent,” written and directed by New Mexico native and
dear friend Eric Smigiel.
In the time since its release, Smigiel has grown
into his own as a writer and a filmmaker, improving with every project.
However, there are still elements to be found here and points of interest to discuss.
Initially conceived in the vein of “The Matrix:
Reloaded” and “The Matrix: Revolutions,” the film was originally split in two
in an attempt to act as the second and third installments of a fan-imposed
‘trilogy.’ This really strikes me; the fact that while Christopher Nolan has
worked to craft the official trilogy, a fan could be so enthralled and
dedicated that he wanted to create an UNofficial trilogy.
What other character could afford such a thing
except for Batman?
The story is very straight forward given the
hindsight of “The Dark Knight” release.
Following his success over Ra's Al Ghul, Batman
continues to enact his war on crime by rectifying prior mistakes, starting
with the re-apprehension of Jonothan Crane aka the Scarecrow.
Even for being unofficial, the story depicted here hits a lot of the same points that “The Dark Knight” would come to. To me, it’s the result of a combination of coincidence and logic.
For example, it’s logical that Harvey Dent would be
brought into the narrative and, with the ending of “Begins,” the Joker for that
matter. It’s logical that the story would be established more so in Gotham City
and it would handle the criminal element, as depicted with Batman, Gordon and
Dent’s proposed assault on the Joker...while “The Dark Knight” focuses their
trio of efforts on the mob.
As far as serendipity is concerned, I think it most obviously lies in the fact that Smigiel trusted instinct enough to make the Joker be the one responsible for Dent’s transformation into Two-Face. At the time, prior to the release of “The Dark Knight,” Eric could’ve easily just done the original comic book origin with Sal ‘The Boss’ Maroni hurling acid in Harvey’s face. But instead he chose to bring interconnectivity to the piece by placing blame on the Joker, just as Nolan’s sequel would come to do.
As far as serendipity is concerned, I think it most obviously lies in the fact that Smigiel trusted instinct enough to make the Joker be the one responsible for Dent’s transformation into Two-Face. At the time, prior to the release of “The Dark Knight,” Eric could’ve easily just done the original comic book origin with Sal ‘The Boss’ Maroni hurling acid in Harvey’s face. But instead he chose to bring interconnectivity to the piece by placing blame on the Joker, just as Nolan’s sequel would come to do.
It’s clear that we’re not dealing with an
experienced cast here, however suspension of disbelief goes to some sort of
length to forgive it.
The clearest stand out by far is Eric Smigiel
himself with his portrayal of the Joker. I suspect that given his heading of
the project and passion for the material, he was the only one that felt entirely
comfortable going for broke whereas others might have been more timid. After
all, asking high school kids to partake in an endeavor like this can be a tall
order if they aren’t comfortable with the idea of dressing up in a Batsuit or
having make-up on the side of their face while running around the suburbs at
night.
Eric’s Joker has the breadth, the voice, the attitude
and it shows. A lot of his mannerisms felt natural and in sync with the
character he was trying to create. I especially loved the bit at the end where
he frantically searches for a Joker card even as a bomb ticks down; there’s a
moment where Batman offers to save him and, in his overwhelming and frustrating
insanity, the Joker simply laughs and bangs his head against the ground,
suggesting that trying to reason with him is a hopeless cause.
Eric found clear homage the most in Mark Hamill’s
portrayal, specifically in “Mask of the Phantasm,” often recycling some of the
dialogue from that film as well as vocal influence.
Ryan Sciarrotta has presence as Batman, but it’s
meager at best. The costume, unfortunately, seems to be wearing the man more
than the reverse. Anyone could’ve played this Batman given the material that
the character has to work with (focus, as with the majority of official Batman
films, is placed once more on the villains here rather than the title
character).
One thing Ryan does have is the physicality of the
character; the scene in which Batman maneuvers across rooftops in his pursuit
of Two-Face is exceptionally thrilling as he fights to catch up. There’s a
moment here where Batman even hesitates in his path, choosing to double step and
fly off of another edge of a building, as if he’s trying to stage his entrance
to have as much effect as possible.
Now truth be told, we’re talking about a fan piece;
one crafted by a handful of kids in high school eager to take a stab at
filmmaking.
The writing is crude, the performances are
certainly rough, production design is non-existent and the use of previously
scored Batman music is uninspired (though I’m not one to talk given my own
attempt at fan filmmaking). One thing I WILL credit the music for is the use of
Danny Elfman’s work on “Pee Wee’s Big Adventure” for the Joker. That fits VERY
well.
There are several things that occur that are rather
tedious, such as Two-Face’s fight with Batman. Here we’ve got a moderate hand
to hand combatant (if that) besting a man trained in this continuity by the
League of Shadows, which seems highly unlikely.
Adam Yancey’s take on Jim Gordon is also a throw
away character, reverting him nearly back to Pat Hingle benevolence. This
doesn’t feel like the Gordon that drove the Tumbler and played a vital role in
saving Gotham City. Now he’s been reduced to meeting Batman on rooftops with
information, even to the point of being verbally scared off by the Joker, which
Gary Oldman’s interpretation of the character would never have been.
The character with the biggest arc, like “The Dark
Knight,” is Harvey Dent. However, there’s nothing at stake with his fall from
grace as there was in the Nolan film; even the personal attachment between him
and Bruce is a bit vague.
But in spite of all that, what makes “Dark Descent”
stick out for me is its heart, which it wears on its sleeve. The intention and
passion exudes in what craftsmanship exists and if nothing else, it remains a
decent and wholehearted preview to the filmmaker Smigiel has become since and
will become in the future.
His camera work here, given the circumstances and
limitations, is inventive and he has a great sense of pace both in his sequence
composition and editing. Clearly Eric has an interest and passion for movies;
for example, I love the fact that when it gets down to it, within the terms of
its own story, it’s really a battle between Joker and Two-Face with Batman
acting as a moderator trying to council both of them. That felt like a very
cinematic idea, at least where I was concerned.
As a fan himself, Smigiel also makes a few nods to
the character and, more specifically, to how a fan would handle a film
involving their favorite character. The biggest is the fact that we, as fans,
love the idea of tipping the hat to the future and this film demonstrates that
with a nod to the Flying Graysons. Nolan hasn’t done anything of the sort and
he has his reasons, but Smigiel knows his audience and the things they’d look
for because he’s a participant himself.
All in all, “Batman: Dark Descent” is really just a
fun insight into the origins of a talented filmmaker working hard to improve
upon his own skills.
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