batman

THE FLICK: After Joel Schumacher drove the franchise into the ground (but, let’s be honest, there’s were a lot of Warner execs helping him pound the stakes), Batman seemed like a property that was bound to gather dust. That is until Marvel, the rival to DC’s pantheon of do-gooder superheroes, made a decided impact on the box-office with X-Men and Spiderman. Suddenly, Warner seemed to be sitting on a pot ‘o gold (two pots if you include the upcoming Superman Returns). The only problem was how to rectify the previous installments’ nipple fetish, neon-glow aftertaste. The decision seemed to be a fresh start...really fresh. Christopher Nolan’s Batman Begins is an origin story, which is ironic considering much of Bruce Wayne’s childhood angst was already covered by the 1989 installment by Tim Burton and whatever was left certainly was touched on by the three sequels. But co-screenwriter David Goyer (a comic book specialist, having helped bring Blade successfully to the screen) chooses to spend half the film following the orphaned billionaire’s single-minded pursuit of justice for his parent’s violent death, rather than cutting right to the Batman in action. Risky, but it turns out to be a good idea. In fact, it’s the only part of the movie that feels unique. For once the scene cuts from a snow-covered mountaintop to the seedier streets of Gotham, Nolan’s film turns into a cluttered amalgamation of all the Batman’s that came before it. Christian Bale – now the fifth actor to don the cape and cowl – is a great choice as far as bone structure is concerned, but his portrayal is out of rhythm; striving for sympathy one moment and overcome with rage the next. His Bruce Wayne is unlikable, and his Batman is unremarkable. The villains of the piece –Ra Al Goul and the Scarecrow – never garner enough screen time to pose a legitimate threat, likely a creative choice to stay away from the stunt casting which led to Schwarzenegger’s embarrassing turn as Mr. Freeze. Even Michael Caine doesn’t make much of an impression as the new Alfred, Wayne’s childhood butler turned superhero nursemaid. So what does the film get right? Well, the real-world setting is a nice change of pace from the previous films’ supersaturated color scheme. Nolan doesn’t shoot like a comic book director, and that lends great weight, particularly to the early scenes of Wayne’s arduous training. This is the first Batman that goes for grit rather than gloss, and it’s much appreciated. Nolan should also be commended for his relative lack of computer-generated effects, the only noticeable exception being the psychotropic effects of the Scarecrow’s nerve toxin, which are genuinely disturbing. But it’s Morgan Freeman’s “I-can-play-this-role-in-my-sleep” sympathetic best friend inventor who adds credibility to an otherwise tedious story, the only genuinely likable character in an almost operatically depressed franchise debut. THE FEATURES: Holy deluxe editions! I expected that Warner would treat the Bat right when he hit home video, but this two-disc set is more like something a studio would put out 6 months to a year later, hoping for a double-dip. Simply put, it’s stacked! The first thing you’ll notice is the full-color booklet containing three excerpts from classic Batman issues that inspired the film. Very classy and cool for those of us who were old enough to read these things when they were actually printed! Disc one contains the feature film (transfer impeccable, sound exhilarating, as to be expected) and theatrical trailer, along with an MTV spoof Tankman starring SNL vet Jimmy Fallon. But the good stuff is all waiting on Disc Two. Batman – The Journey Begins is a pretty fluffy 14-minutes of interviews and random behind-the-scenes shots, but it sets the stage for the rest of the extras fairly well. Cape and Cowl addresses the design challenge of re-inventing the costume with allowed for more flexibility (and less nipples), and includes some cool test footage. Gotham City Rises explores the massive set on which the titular city – along with the Batcave – was created. The Tumbler – also the given name for the new Batmobile – runs through the stats of this high-tech vehicle including more test footage. Genesis of the Bat provides great artwork to gawk at and points out which particular issues were an inspiration for the film. Path to Discovery concentrates on the superior early scenes of the film set on a mountaintop monastery and, most dangerously, a genuine frozen lake. Shaping Mind and Body follows Bale’s struggle to get into shape for the role after coming off a previous film in which he was nearly 80 pounds under-weight. Nolan also chimes in about his intentions to keep the fighting down and dirty using a new martial arts style. Ripped from the Pages showcases certain scenes that were lifted panel by panel for translation to the screen, along with the new “All-Star” line of DC comic characters. Saving Gotham City argues the point of practical effects versus digital, of which the film sided with the former. Now might be a good point to mention that all this extra material is accessed through an interactive comic-book display. It can be a tad confusing, but it follows an informative pattern and looks simply incredible! Certain words in the text can be highlighted to access Confidential Files about that subject (for example, Batman’s utility belt or crime lord nemesis Carmine Falcone). There are also a good number of Easter eggs hidden among the panels. If you’re having trouble, though, you can always click to the end where all the features are plainly (but, oh so predictably) listed.