‘Batman Begins’ An Amazing New Era

There isn’t a better example of how to turn a diamond back into a lump of coal than what happened with DC Comics’ Superman and Batman movie franchises of the ‘80s and ‘90s. For all the pomp and celebration of the original Superman, the next films choked the life from the franchise like a kryptonite body cast. Their Batman films had a similar falloff, beginning strong with Michael Keaton as the famed Dark Knight but ending with a performance by George Clooney that was so dry it could suck water from a cotton ball. After the foul stench of last year’s Catwoman, DC Comics’ adaptations, unlike those by Marvel, seemed incapable of transferring the spirit of their beloved literature to the big screen. However, that’s all about to change. Their latest release, Batman Begins, will likely spark a revival of the black-bound crusader that, if handled correctly, may not only put DC Comics back in the fray, but give Spider-Man a little more company on his lofty perch.

Early on it’s not hard to get a sense that the makers of the film wanted to get this one right. Chris Nolan, the writer/director responsible for the twisted thriller Memento, teamed with David Goyer, writer of Blade: Trinity, to deliver a screenplay that is as efficient as it is smart. As one might expect, Bruce Wayne’s pre-Batman days are a focal point; the death of his parents, his fear/fascination with bats, etc. But Nolan and Goyer use fascinating new material to connect most of the typical elements in the mythology. The outcome is a Batman fable that plays like polished perfection; darker, more frightening, and more enjoyable to watch than any version to date.

This sterling story unfolds with a young Bruce Wayne, driven to despair by a vengeance he cannot satisfy, abandoning his fortune and his life at Gotham city. After joining the secretive League of Shadows, a rogue society that has worked throughout history for the social destruction of criminals, he returns to Gotham, where he must confront a mob kingpin and the insidious Scarecrow, a sly villain who induces panic through some decidedly wicked hallucinations.

One of the film’s most blessed traits is that the trademark cheesiness, which was part and parcel of the ’60s television show and saturated the horrendous Batman and Robin, is almost completely absent. Areas that might now be considered a bit corny receive a fitting update or are slickly reinterpreted (the batmobile becomes an absolute beast on wheels and the bat signal takes on a savage new edginess). Similarly, the special effects show no sign of the CGI cartoonishness that normally plagues the genre. And considering the generally serious tone of the film (although there are a few humorous jabs sprinkled throughout) this version of Batman is perhaps the most believable, most digestible comic book translation we’ve seen in some time.

Christian Bale’s portrayal of Batman is arguably one of the best; he even seems to be a better fit in terms of features and physical build than fan-favorite Michael Keaton. But what makes this incarnation of Batman special is less about Bale and far more about the way the character is presented to the audience. Batman takes on more “human bat” qualities than ever before, stunning hapless criminals with a silky stealth and snatching up enemies as if they were mere insects. Batman glides through the air in mesmerizing displays of aerial cool that easily trump all of Spider-Man’s slinging and swinging acrobatics. And yet he never lacks any of the ingenuity, fighting skills, and technical gadgets that made him one of America’s most beloved comics icons.

Another pleasant surprise is Batman’s unorthodox foe, the Scarecrow. Cillian Murphy (28 Days Later), with his arrogant swagger and icy demeanor, embodies this creepy character with chilling perfection. In keeping with the traditional makeup of Batman foes, he isn’t necessarily physically intimidating, but his cruelty and nightmarish tactics can send chills down anyone’s spine.

The décor of Batman Begins does not rely on massively artificial sets as in previous episodes. The subtle brooding of dark but striking hues does, however, create a mood that, while not overwhelming, certainly communicates its point. Gotham is neither heavily futuristic nor nostalgic, but very contemporary - except for its dazzling multi-tiered monorail. The film’s best rendering is in the Narrows, a slumish jungle of poverty, crime and color.

A better cast for a comics-based film is almost impossible to find. Veterans Michael Cain (Alfred), Liam Neeson (Henri Ducard), Morgan Freeman (Lucius Fox), Gary Oldman (Lt. Gordon), and Tom Wilkinson (Carmine Falcone), each fill out their roles with expected expertise. Katie Holmes is also impressive as Bruce Wayne’s puritanical pal, Rachel Dawes, but one wishes for a deeper romantic liaison between the two.

Putting it simply, Batman Begins is everything a critic or layperson could ever want in a summer movie - great acting, great action, and great storytelling. It accomplishes the rarity of being a robust blockbuster with smarts. More importantly it practically does the impossible, bringing the Dark Knight back from his netherworldly vault and placing him once again on the throne as overseer of the comic book kingdom.