Batman Begins (2005)

Directed by: Christopher Nolan | 140 minutes | action, thriller, adventure, fantasy, crime | Actors: Christian Bale, Michael Caine, Katie Holmes, Morgan Freeman, Ken Watanabe, Gary Oldman, Cillian Murphy, Rutger Hauer, Tom Wilkinson, Liam Neeson, Mark Boone Junior, Linus Roache, Larry Holden, Gerard Murphy, Colin McFarlane

Batman is back. We can say that with the arrival of Christopher Nolan’s ‘Batman Begins’. After the disappointing Joel Schumacher films, the franchise has finally been revived with a film that offers both good action and valuable background information. Like recent superhero films like ‘Spiderman 2’ and especially ‘Hulk’, ‘Batman Begins’ uses a fairly realistic, psychological approach rather than the more “cartoony” approach, with an emphasis on action and over-the-top acting. . And Batman is pre-eminently a figure that benefits from a realistic approach. Batman is in fact just a “man in a costume” as a character from the film also says. He has no inherent special powers, being bitten by some beast or coming from another planet. He relies on his “wonderful toys” to quote the Joker (Jack Nicholson) from the first Batman movie. In order to reduce him a little less to a strange figure in a crazy suit, it is therefore worthwhile to explore the man behind the mask and to find out how he arrived at his equipment and attitude to life.

The interesting background information is given to the viewer in the first half of the film, and comes out relatively well. The traumas, seclusion, training process and eventual choice and path to Wayne’s new persona are intriguingly presented and well acted. For all the drama intended, it would only have been better if the essential relationship between Bruce Wayne and his father had been handled a little less simply and clinically. The father doesn’t seem particularly warm or paternal. He sometimes talks to little Bruce as if he were talking to an employee, and much of it is translated into riddles or contrived life lessons, which must come back at least once later in the film. It’s both too easy and not believable. For example, after Bruce falls into a well at the beginning of the film, where he experiences his first major trauma (battle confrontation), his father doesn’t ask how things are going, but teaches him a lesson by asking, “Why do are we falling?”. The answer: “So we can learn to pick ourselves up”. A good lesson, yes, but somewhat contrived. Unfortunately, the death scene of his father is also not very “impressive”. The father says “It’s okay. Don’t be afraid”, with a steely expression on his face. The fear theme, which will come up repeatedly later, is now nicely set up, but more immediate drama would have been desirable. The characters are sometimes too tied to the requirements of the script so that they don’t really come to life.

This is also facilitated by the many approaches to, and pop references to, other films. For example, at the beginning of the film, Bruce is sent on a self-discovery path by his mentor (Neeson). He has to bring a blue flower to the top of a mountain. Then he will find what he has always been looking for. When Bruce wants to know what he has been looking for, his mentor replies in veiled ‘Matrix’ style: “Only you can know that”. The expression “Ignorance is bliss” from that film is also used. And what about phrases like “I gotta get me one of those” and “There is nothing to fear but fear itself”? Furthermore, a scene in which Bruce is sitting at a fancy dinner and is asked about the heroic Batman (and Bruce then berates him) seems to have been plucked from ‘The Mask of Zorro’. It just lacks “With great power comes great responsibility” and “The force is strong in this one”. Although some overlap or use of the same ideas is sometimes unavoidable if you’re working in the same (sub)genre, it does take away from the film’s own character.

The film does have an interesting ideology or political line that defines Batman’s character. In the first half hour of the film, we cringe when he threatens to become a pure, ruthless ‘Kill Bill’ avenger, and so he lets his anger lead or consume him. However, when in a flashback we see his girlfriend (Holmes) critically address him about how justice does not equal revenge, and that Bruce should not stoop to the level of his opponents, it seems clear that the film and Batman himself do. have or will have a solid conscience and a nuanced philosophy. The later, action-packed confirmation of this fills the viewer with joy. Bale knows how to convey these nuances and psychological dilemmas well. He is an ideal choice for a superhero movie with such an approach. He is good at conveying the required range of qualities: tormented, dryly comical, yuppy, menacing. Since Michael Keaton, we haven’t had anyone fit Batman’s (and Wayne’s) suit so well. The best are the acting moments that are not (or seem) bound by the script: when he insults all his guests at a party and “shows the door”, when he arrives as a playboy at a hotel with a couple of models, and when we give him funny asides about his (future) Batman gadgets (regarding his Batmobile: “Does it come in black?”).

It is fascinating to see how scientific or realistic motivation is given for every gadget and every piece of costume. His cape is half a parachute, his Batmobile a car designed to jump over bridges, his costume an extension of his Ninja past, and a way to make his own fear (bats) that of his enemies. Etcetera. He even gets a Q-esque sidekick in the form of Lucius Fox (Morgan Freeman), who secretly works on his stuff. Practically every time Freeman appears on screen or opens his mouth, the film gains in charm and vitality. A simple (conspiratorial) smile or a single comment is often enough. Even clichés seem to have no effect on him. But the rest of the cast isn’t nauseous either. Michael Caine, immediately believable as a butler, lends humor and class to the role of Alfred; Liam Neeson is another competent mentor, with a trick up his sleeve; Tom Wilkinson is an amusing corrupt politician; Gary Oldman stands out by not standing out as the likeable character Gordon. He really disappears into his role; Katie Holmes is a good anchor, but somewhat unbelievable as a lawyer. There are also nice supporting roles for Ken Watanabe (‘The Last Samurai’) and our own Rutger Hauer. Cillian Murphy is basically an interesting “realistic” villain, who like the Scarecrow only needs to pull a bag over his head that spreads fear-inducing chemicals. Only he is underdeveloped and he is not really an “exciting” opponent for Batman.

This is kind of the flip side of the realistic approach of this film. The old-fashioned superhero entertainment with imaginative heroes and enemies that are “larger than life” is not always enough. Despite a decent amount of action, it all remains a pretty serious affair. This initially extends to Bale’s Batman rendition as well. He uses a tough, raspy voice, probably to disguise his real identity while appearing intimidating, but this sometimes backfires. Fortunately, he comes across a lot more natural afterwards.

The action in the second half of the film is mostly well executed, with amusing scenes in which the (lower) villains are overwhelmed by the big bat, thrilling rides in the Batmobile, and spectacular battles, although sometimes lacking in clarity and epic character. to miss.

Despite the sometimes simply sketched drama and some lack of old-fashioned superhero entertainment, ‘Batman Begins’ has turned out to be a pretty satisfying and skillfully made film across the board. We can finally look forward with hope to the (inevitable) next part.