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timelessly twisted

I’ve just read an article on NME about the Tom Waits- Heath Ledger connection and I was reminded just how much regard I have for the late great Ledger’s craft. A little introspection about my interest reveals an entire genre of amoral excess. Cinematically I am criminally inclined. If I, somehow, encountered these people in real life I would probably not feel all that comfortable around them, I’ve never been able to properly relax around criminals. Even though I find them ideologically satisfying they’re never quite as charming.

It seems that whenever a piece of celluloid truly gets me it’s an angled portrayal of evil. Evil might be too strong a word, perhaps socially incongruous or morally ambivalent, but dodgey none the less. The Libertine, Dangerous Liaisons, Reservoir Dogs, Iron Man, Sherlock Holmes, Beetle juice, Goodfellas, Boondock Saints, Casino, The Devils Advocate, Lock Stock, Snatch and The Departed are some of the examples that fit alongside The Dark Night, but there are many more. I think it’s the combination of intelligence and destructive agency that gets me going. For some reason there’s this dystopian brand of charming I can’t quite get over and it seems to be the same for our collective pop unconscious. Drawn like German tourists to pastel coloured clothing, we storm these edifices of twisted-dom. We know it’s wrong, but we can’t help ourselves.

 

I keep getting irritated with myself for falling into the same old trap, but there’s not much else going as far as transcendent entertainment goes, this addictive sentiment has way too strong kungfu.

 

Clumping my fascination together goes a little like this: Malkovich, Depp, Ledger, Downey, Duchovney, Norton, Tarantino and Nicholson. I simply can’t get enough of this shit, this dog eat everything darkness.

 

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August 3, 2012 Early Tilt