Batman Begins (2005)
By now, nearly everyone who is interested
in "Batman Begins" has seen the film. We all know
it's a re-imagining of the genre of comic-book based
films and of an extremely well- established character.
Batman has been around for 50-some-odd years and,
as it was in the 80's when Tim Burton reinvigorated
the character, it was time to shake up the established
notions about the superhero and modernize him.
Christopher Nolan was the perfect
director for the job. All of his films have been dark,
intense, detailed examinations of psychosis and neurosis
and in many ways, the fable of Batman surely has elements
of such. With scripter David S. Goyer, Nolan re-invents
Bruce Wayne's childhood, pushing the walls of his
disturbing past and troubling incidents there within,
creating a psychological infrastructure in which the
Batman mythology can evolve honestly and logically.
It is this foundation on which the
whole story and its allegory springs. Wayne grows
into a troubled and dysfunctional young man who can
only be salvaged and redeemed when he evolves from
revenge seeker to moralistic vigilante. In the post-millennium
milieu, Nolan and company create a feasible and recognizable
yet still fabulist environ in which Bruce Wayne can
exist.
There are many things I like about
"Batman Begins." Nolan's work here is exciting and
engrossing. In addition to creating a world, a story
and a backstory in which Batman exists perfectly,
Nolan delights us with his realism. This Batman does
not do impossible and implausible things simply because
his mythology insists he can. Nolan uses the mythos
of the Ninja and Eastern theology to create a superhero
who can believably move silently through the night,
infiltrating his enemies' sphere without any indication
he is there and any trace that he was there upon his
departure.
Nolan uses Wayne's millionaire status
as well to establish a believable context on which
he can have the tools to be Batman. This is another
of the film's brilliant plot-points which allow the
viewer to buy into what is happening with ease. Wayne's
corporation has military contracts and have come up
with several items which would aid the military but
which are to expensive to mass produce. The prototypes
lie in wait for Wayne's need. This is how Nolan establishes
Batman's outfit, his utility belt and the ever-important
Batmobile. The way this is merged into the story in
the film is simply wonderful.
And what about that supporting cast!
Michael Caine is simply perfect as Alfred the wry
butler. It's as if this were the role Caine were born
to play. Alfred creates nearly the only humor and
lightness in the film, and Caine plays him perfectly,
just subtle enough to fit into the darkness of the
film but fueled by a twinkle in his eye which slyly
reminds us it is a movie based on a comic book after
all. Gary Oldman is wonderful as well, finally allowed
to play a good guy. It's awesome to see this incredible
actor given a role that we all know will eventually
grow into a substantial part of the film series (sequels
are already in the working stages). It is going to
be a delight to see Oldman grow into this role. Morgan
Freeman may not be given a role that is outside his
norm in "Batman Begins," but he does a wonderful job
nonetheless. And what about Cillian Murphy as The
Scarecrow. Yes, he is a hottie of immense magnitude,
but he plays the role with perfect creepiness. This
is a great introduction of the Irish actor to the
American film going public. This young man is going
to be a huge star. (And in case we didn't believe
that gay men worked in Hollywood anymore, note Murphy's
pale gray straight-jacket near the end of the film
which accents the sterile blueness of his eyes in
such a simply gorgeous way that teenage boys who see
the film will surely be questioning their sexuality
for a week).
Now, there are things to dislike
about "Batman Begins" and most of them begin and end
with Christian Bale's performance and facade. First,
don't put the man with the most recognizable mouth
in Hollywood in the Batman mask (which covers all
but the mouth) and expect the audience to believe
that no one can recognize him. Bale's funky little
teeth flash prominently when he speaks and the viewer
is left to assume that romantic interest Katie Holmes
(yawn) is a complete idiot when she doesn't recognize
Bale (as Wayne) when he is in the Batman mask. It's
silly.
Also, Bale insists on adopting the
most hilarious and goofy of "angry" voices when he
puts on the cape and talks to the villains. It reminds
one of last year's cinematic version of "The Hulk,"
a true disappointment. We expect Bale to intone the
idiotic "You wouldn't like me when I'm angry" line
at least three times in the film when he grafts the
harsh quality to his voice. Worse yet, it seems like
a gay guy trying to butch it up.
And another big problem, noticed
by nearly everyone who sees the film, including children
who know nothing about filmmaking, is that the fight
scenes are shot way too close. It is impossible to
tell what is going on in almost every fight scene
in the film, especially in the early sequences, because
Nolan insists on having his camera right up in the
action. It's infuriating. Don't producers and studio
execs watch dailies anymore? Didn't anyone have the
balls to tell Nolan, "Um, hey, you know, um, maybe
you should get some wide and some medium shots on
some of the fight sequences."
Still, even with Bale in the lead
and the bad camera work on the early fight sequences,
"Batman Begins" soars during almost every moment of
its running time after the story really begins. This
is the kick in the ass that comic-book inspired films
needed and Nolan and Warner Brothers should be rewarded
for having the balls to even try something new. That
they succeed quite admirably in creating visionary,
fun, adult, dark entertainment is just icing on the
cake.
Notes:
Also with Liam Neeson, Tom Wilkenson,
Rutger Hauer, Ken Watanabe.
The development of this film has
went through several phases with several actors and
directors and scripters attached at various time.
a little sleuthing on the Internet can lead one to
several stories leading up to the making of this film.
Viewed in Austin in June 2005.
