They say all fun has to come to an end sometime. Here we are at the end of the first ever Decades Blogathon and I know Mark has said it already, but I would just like to reiterate how much fun it’s been getting to read everyone’s contributions and seeing the variety with regards not only to genre but to the years in which they came out. It’s been a great time, and Mark and I thank you for participating. We hope to be back next year with another version. Let’s round out this year’s version with a look at 2005’s reboot of Batman in Christopher Nolan’s Batman Begins.
Release: June 15, 2005
Distributor: Warner Bros.
Directed by: Christopher Nolan
From Wikipedia: [Batman Forever‘s] tone is significantly different from the previous installments, becoming more family-friendly since Warner Bros. considered that the previous film, Batman Returns (1992), failed to outgross its predecessor due to parent complaints about the film’s violence and dark overtones.
Poor Joel Schumacher. Pressured by an industry where — not unlike many others — the bottom line is defined by the dollar bill, he was only trying to expose Bob Kane (and yes, Bill Finger)’s creation to broader audiences. Unfortunately (and naturally) in so doing, he lost the trust of more than a few of the long-been faithfuls. Though everyone regards the variations on cape and cowl as a singular symbol of hope for a city desperately needing it, very few are likely to conjure images of Val Kilmer in the process. Michael Keaton is to this day more often than not understood to be that presence lurking in the shadows, occupying the space between hero and antihero.
How to explain the 2005 re-boot? How do we go from Batman and Robin to Batman Begins? And how did they do it without coaxing Keaton back? Batman Begins, representing a heightened sense of thematic and literal darkness, is on one level a natural progression of a long-running story. Other proposed continuations of the saga (what about a Batman Triumphant, or perhaps Batman: DarKnight?), looking back now, just don’t feel . . . right. On another level, Batman Begins is highly memorable cinema independent of the legacy preceding it throughout the decades.
Call it a culmination, call it enigmatic, call it what you want. Me? I call this film the best thing Christopher Nolan has ever done. He may be a filmmaker by title but what Nolan really is is a magician. Wave a little magic wand and presto! Memories of a family-friendly era of Gotham’s Knight in not-shining armor, who hunts down the vilest criminals from the rooftops and down back alleys — they’re all but gone. Christian Bale is in as the handsome but aloof billionaire Bruce Wayne, a man who has a legitimate fear of bats because of a childhood trauma. And the metaphorical rabbit to be pulled from the hat? Setting the film in our world, our reality — or at least paralleling it with remarkable precision.
Batman Begins operates fundamentally as one of the most celebrated reboots in all of cinema . . . or at least in an era where reboots and revisitations became an acceptable trend. A proper origin story that affords the night-abiding vigilante a plausible and compelling resurgence. The story, and eventually the titular hero, thrives on fear and the instilling of it in others. For Bale’s Bruce (and by extension, in Nolan’s interpretation) fear goes far beyond those nocturnal little creatures. Having lost his parents at an early age and fled to all corners of the globe to seek justice — this isn’t the kind of grief you might mistakenly label as teenage angst in things like Spiderman — Bruce Wayne is afraid not so much of life beyond his parents but of one devoid of meaning or purpose.
That a film — a Batman film, no less — plays so well to people’s fears (you don’t have to have any special powers to deduce the simultaneous death of Mr. and Mrs. Wayne was a pretty horrible event) speaks to the power of good storytelling. Nolan has proven himself a talent in that regard with previous films like the mind-bending Memento and perhaps it was a matter of inevitability that he took the Batman legend and bolstered its image for an entirely different generation, a generation more tolerant (is that the right word?) of violent and brooding imagery and action that fails to become cartoonish.
Passionate requests from reinvigorated fan bases notwithstanding, Nolan’s take could also function as a comic in and of itself. It’s not difficult to imagine an overhauled DC strip based upon this new chapter in Gotham history, one that would see the introduction of Rachel Dawes and versions of Ra’s al Ghul and Scarecrow that no longer need revamping. Given the way The Dark Knight trilogy eventuates, this too might be a matter of inevitability. This is all assuming such a comic doesn’t exist already.
Batman Begins is a sign of the times. The first installment in one of the most commercially and critically successful trilogies in cinematic history is a challenge to the status quo, at least when it comes to first comprehending and then translating to the big screen such celebrated super-heroic beginnings. 2005 is the year Warner Brothers realized taking a drastic step away from Batman’s more cartoonish roots — no more Bat-turn or Bat-nipples, folks — not only could work, but had to work. Realism blends with the fantastical in Batman Begins in ways that, while not expected, when all is said and done, just feel . . . right.
If it seems a little hypocritical for the same studio that tried moving away from the ‘darker’ side of Batman is now passionately embracing the box office numbers in the same way fans have embraced the gritty new films, it’s because it is. But I don’t know how anyone can blame Warner Brothers for reversing course. Blame is not even the right word. We should, in some ways, be thanking the studio for greenlighting these very dark, very real stories and recognizing the power laying dormant in this legend. Perhaps Warner Brothers ultimately decided the timing just felt . . . right.
Recommendation: Dark, moody and yet unbelievably enjoyable, Batman Begins is the film that started it all (again) for the Dark Knight et al. I challenge anyone to watch this film and not have a great time. Of course, fans of the comic version should find even more to latch onto with Christopher Nolan’s stunning attention to detail, and it should go without saying that fans of his directorial CV have this one high up on their list of favorites. For me, personally, a film doesn’t get much better than this.
Running Time: 140 mins.
Quoted: “It’s not who I am underneath . . . but what I do that defines me.”
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Photo credits: http://www.dcmovies.wikia.com