This is from the Great Grotesque Thing I’m writing, but it has some topical relevance now so I’ll post it. Basically, it’s a reading of the film as Romantic art (with a little Buddhism as well).
Melancholia announces its Romantic intentions immediately. The title itself claims a place alongside the great romantic spiritual laments, like Coleridge’s “Dejection: an Ode,” Shelley’s “Stanzas: Written in Dejection, Near Naples,” and Keats’s great “Ode to Melancholy.” But the film’s true romantic touchstone is a little later in time: the film opens with the ethereal gloom of the overture to Wagner’s Tristan und Isolde.
TDKR page 78.
This post is in memory of Dick Giordano (20 July 1932–27 March 2010), original editor of Batman: The Dark Knight Returns.
Part 1 | Part 2 | Part 3 | Part 5 | Part 6 | Part 7 | Part 8
Time now to talk about Book Two (of four): “The Dark Knight Triumphant.” Having prevented Two-Face from destroying Gotham’s Twin Towers, Batman turns his attention to the Mutant gang that’s been terrorizing the city. We learn more about Commissioner Gordon’s impending mandatory retirement, and meet his successor: Captain Ellen Yindel, whose appointment (and hostility toward the Dark Knight) will motivate much of Book Three’s plot. Miller also introduces a new Robin, the young teenager Carrie Kelley, who will become a central character. And Superman is given subtle orders (by President Reagan) to help ensure that the newly-returned Batman stays in line.