Nick’s Thoughts On Batman Begins and The Dark Knight

The Dark Knight Rises marks the end of what might be the finest superhero trilogy of all time, but is it the best of the three? In this fan’s opinion the answer is “No”. With any trilogy the first question that usually arises is; “Which film is the best ?”. Many would say the Dark Knight, mainly due to Heath Ledger’s Oscar winning performance and the fact that it was an impressive culmination of writing and direction. Initially I too believed that the Dark Knight was the “Ultimate Superhero Movie of All Time”. However after numerous watches there are a few obvious issues that ruin an otherwise highly enjoyable and an impressive technical feat. Hence I give you my reasons for why Batman Begins remains my personal favourite. 

Begins is the under-appreciated of the three, not only critically but in terms of its financial gross. Many have dismissed it’s slow pacing and the lack of bold action set pieces when compared to The Dark Knight. Yet it’s the perfect origin story. Nolan balances his take on Batman’s dawn whilst developing the important character of Bruce Wayne. Simultaneously the film manages to emphasise Ra’s Al Ghul’s and the League of Shadows’ unfolding plot to destroy Gotham without losing focus on its primary goal as an “Origin Story”. Blending entertaining action scenes, such as the Bat mobile chase, with Wayne’s personal life, the internal friction within Wayne Enterprises, and his personal relationships with the different characters culminate in a film rich with dynamism, narrative sophistication and ambition. An ambition that’s seen in Nolan’s choice of an antagonist. 

Many were surprised by the choice of Ra’s Al Ghul as the main villain. Back then, I admit to being slightly perplexed at Nolan’s decision to tackle a previously unexplored and more “mystical” realm of the Batman Universe. Yet in hindsight it was a smart move that allowed him to bind Wayne’s adoption of the cape and cowl, with the emergence and motivation of the film’s villain without constantly interchanging between the two plot threads. This would have been difficult when using someone like the Joker who would require more focus to be shifted towards his conflict with Batman rather than the origin story arc. This a similar reason for the choice of The Scarecrow, however his character is used to bridge the Falcones’ stranglehold on Gotham to the bigger picture of the League of Shadows. Though I must confess I was slightly disappointed by his demise via a taser.        

The common phrase thrown around Nolan’s Batman is “gritty” or “dark”, The Dark Knight stirred up a lot of controversy for pushing the BBFC and CARA rating systems to their limits. Mysterious and brutality are traits of Batman and Gotham’ characters, yet a Begins added a “human” integrity to him and his fellow personalities. Whether it ‘s the quick liners from Alfred or Lucius Fox, they provided light relief from the dark, corrupt setting of Gotham and the visual hallucinations created by the Scarecrow, serving to remind us that Batman is still human. This humour is less apparent in the Dark Knight which tries to produce laughs through the Jokers’ anecdotes and actions. Many would say that humour isn’t really important in Batman films due to the dark and serious nature of the villains and setting. But we have seen recently that films that have “matured” using undertones of seriousness regularly miss the mark of the source material and original influences; i.e Quantum of Solace. 

 Another aspect that Begins gets right is the Gotham City setting which is much more true to the comics with undertones of the gothic styling that Tim Burton used in the 1989 Batman film as exemplified by the dark, gritty backstreets and slums of the “Narrows”. The film’s colour palette of oranges and browns separate it from sinking into the dark blues and blacks normally associate with modern action cinema, and in turn give the locations and surroundings an essence of character that’s missed in Knight and Rises. The Gotham City in both the Dark Knight and Rises, even though grounded, revolves too much around the cities of New York and Chicago losing the sense that Gotham City is actually a fictional place rather than based on a specific location.              

I’m not saying that The Dark Knight is awful, on the contrary as I said previously Heath Ledgers’ performance is the most outstanding within the trilogy. But that’s precisely what’s wrong with Knight, it’s a Joker film at heart. Begins’ careful and intricate development of Bruce Wayne and Batman is forgotten and replaced by the sheer presence of Ledger. While the death of Rachel Dawes and the promotion of Jim Gordon to Commissioner offer substantial changes in both narrative development and emotional threads, the film ignores the key principles of Bruce Wayne and Batman. The whole idea about Batman is that he has no super powers, bar the millions of dollars and high tech gadgets he possesses, and therefore the character Bruce Wayne undergoes many of the internal struggles and psychological fragilities as a regular human being. Batman only represents the brute that exacts fear into others, leaving all the burden to fall on Wayne tragic shoulders. It forgets this element to the point that we hardly see Bruce in Knight. Instead The Dark Knight compiles of numerous action scenes with Batman most notably the motorcycle chase and the final standoff with the Joker, which are all entertaining and good to watch but doesn’t really give us the sense that we can really relate to the character of Bruce Wayne when all we are witnessing is Batman beating the pulp out of enemies.               

Another glaring problem with The Dark Knight is its third act, especially the way the character of Harvey Dent / Two Face is handled. In previous films the character has never been truly adapted from the comics to the screen. From a brief “blink you’ll miss it” appearance in Tim Burton’s Batman, played by Billy Dee Williams, to a camp and almost laughable performance by Tommy Lee Jones in Batman Forever, Dent stands as a paramount villain within the comic book universe, yet no-one is willing to explore his tragic backstory . The problem with Nolan’s Harvey Dent is the shallowness and rushed nature of his character progression. From the build-up of Harvey Dent as the “White Knight” of Gotham and then the transformation to Two Face, Knight’s story structure leaves little room for Two Face to make an actual impression, and give a suitable conclusion to the Joker’s “scheme”. Nolan follows his predecessors by not fully delving into the tragedy that is Two Face and how his transformation puts a strain on the relationship between Jim Gordon and Batman, as well as impairing and almost causing Batman to doubt whether he can truly  save Gotham. Granted this would have taken another film to progress this specific story arc, however it just seems odd to leave out such a vital character in the DC comics and not even attempt to make a film based on him. Maybe the possible difficulty in grounding a person with half a face in reality may be one of the main reasons that Nolan didn’t continue the Harvey Dent / Two Face story arc, though it would have been nice to see a Batman film based on one of my favourite Batman graphic novels, “The Long Halloween”.      

In hindsight, the Dark Knight seems out of place within the trilogy, with the Harvey Dent Act being the only narrative continuation between it and Rises. Many would put this down to the untimely death of Heath Ledger and the belief that the final film would have continued the rivalry between the Joker and Batman. Instead Nolan comes back full-circle and firmly brings the series back to the forefront of Bruce Wayne’s fundamental motives and sensibilities. If I had to score each individual film it would probably go along the lines of a 7 for Dark Knight, 8 for Dark Knight Rises and a 9 for Batman Begins. But at the end of the day a lot of praise should go to Christopher Nolan for creating a trilogy of Batman films that many people would say greatly represents the famous comic books and deserves to have a place on our shelves. 

Nicholas Singleton

The Dark Knight Rises Review

The Dark Knight Rises 

Christopher Nolan’s Batman films have easily become the most critically applauded and financially successful of the superhero’s long catalogue of film adaptations. Grounding the characters and universe in a semi-realistic manner has brought a “rebooted” look and grasp to the capped crusader. From the camp, safety PSA-type of the Adam West television series to the gothic surealism of Tim Burton’s efforts, Batman arguable has finally found his cinematic footing in the streets of a modern Chicago under the direction of Nolan. With the sheer hype and expectation towards his last Batman film, the question was always going to be whether it would mirror or surpass the “flawless” status The Dark Knight has received. 

Set 8 years after the events of The Dark Knight, Gotham still mourns the death of its hero Harvey Dent yet prospers under his valiant legacy. In comparison Bruce Wayne has become a reclusive cripple and has hung up the cowl and cap.  Meanwhile dangerous mercenary Bane has escaped custody and threatens to eradicate the filth and corruption of Gotham through an elaborate yet destructive plan. Rises continues to showcase the prowess and complexity to the Nolan brother’s writing and direction. Pushing the scale, the Joker’s previously hinted chaos in Knight is thoroughly realised through Bane’s brutal plans. Continuing the morbid and deeply unnerving atmosphere of fear and anxiety, the film manages to convey the tumbling descent of both Gotham’s heroes and citizens. It’s an engaging and well-structured story that manages to balance various narratives courses and the introduction of a multitude of new characters. However the writing is by no means perfect with some of the dialogue falling flat, and the conveyance of time never persists from the visual changes in the seasons. The third act falters under its need to answer every question and reveal additional twists and turns without the substance and length to do so, as it did in The Dark Knight. Nevertheless, it’s a smartly written and carefully balanced story, for the most part, that constantly builds the tension and thrills culminating with an ending that’s pretty much perfect. 

The grandeur of The Dark Knight Rises is further emphasised by the superb and impressive cast Nolan has coordinated. After the introduction of Two-Face during the rather rushed and overly frantic third act of The Dark Knight and the sheer number of recognisable actors in Rises, there was certain skepticism over the overall integrity and balance of the film. Christian Bale returns to the forefront after Heath Ledger stole the show in Knight. His troubled emotional and psychological state of mind becomes paramount to both the story and his character’s own progression. Some may argue that we’ve seen this before, but Bruce Wayne’s own internal struggles and flaws present a much more interesting and integral affair than the simple actions of Batman. In comparison, as the film’s lead villain Tom Hardy’s intense performance as Bane provides a truly threatening and compelling character that has the substance and context to build from. His voice-work and the subsequent voice modulation, arguably more comprehensible than Bale’s, offers a varied personality that’s almost charming even with his intimidating appearance and crippling conviction. Anne Hathaway’s inclusion in the film as Selina Kyle, A.K.A Catwoman, had been a source of tension and while my personal attachment to the character still rather looks down on her portrayal, she does well creating a sense of chemistry with Bale. Meanwhile Joseph Gordon-Levitt’s considerable screen-time shows his capabilities and growing ability onscreen. While his character Officer Blake may seem too perfect in front of Gotham’s decaying backdrop, Levitt has an interesting depth that holds its ground amongst a strong cast that each manages to leave an impression. 

The cinematography continues the greys and dark tones we’ve come to expect from a Batman film. Changes in locations and scenery add a few more colours to the monotone palette, while Batman’s traditional fondness for the darkness is swept away by the questionable over-use of daylight. Cinematographer Walter Pfister continues the slick and gritty visual style of the previous films with some gorgeous shots of the desolate streets of a snowy Gotham or the verticality of the Pit. Yet Rises’ 12A or PG-13 rating have obviously lead to the cutting down of violence, which quite evidently hurts the film’s editing and subsequent flow. Cut-aways seem out-of-place and the sound design rather whimpers at idea of making Bane’s “handiwork” seem a bit more brutal and ferocious. Labelled an “action film” by many, Nolan reaches Michael Bay proportions with missiles and explosions destroying cars and buildings. It’s an abrupt shift from the styles, subtly and vision of the original comic material. However Rises’s set-pieces are intense and impactful. Batman’s sewer fight with Bane in particular is a stunning exchange of fists and dynamic camerawork. Meanwhile Hans Zimmer offer’s a very familiar and tense soundtrack that continues to uses the deep notes and constant drum beat of his recent work. 

In the end The Dark Knight Rises is a highly enjoyable and solid conclusion to a truly remarkable trilogy. Is it the best of the three? No, but while I still believe Batman Begins captured the quintessence of the characters, setting and feel, Rises maintains the high standard we’ve come to expect from Nolan’s films. The story and dialogue have a few minor hitches, and holes can be poked at the third act’s revelations, but the performances are fantastic and the general direction culminates in a stunningly engaging and satisfying ending. 

8/10 

The Fighter

The Fighter

The Fighter is the best film, so far, of 2011. I am yet to see True Grit  but I don’t think it could top this masterpiece of cinema. Friends and family had praised the film, and even before it came out I was excited. It was only until last week when I got to see it, in the deluxe screening room of Cineworld, and it just blew me away. The story, script, acting and direction are fantastic. Everything about this film is amazing and certainly deserves the various nominations and the critical acclaim. Director David O Russell has been relatively unheard of in mainstream cinema. The only other films that I remember him directing were the acceptable Three Kings. However, that was released back in 1999. And I Heart Huckabees, which was another average film, but it is The Fighter which really shows his talent as a director. 

The Fighter follows the professional life of boxer Micky Ward (Mark Wahlberg), but also focuses on his relationship with his older brother Dick Eklund (Christian Bale) and their family, in particular their mother, Alice (Melissa Leo). The ‘Ward family’ are a close knit ‘community’, that just want the best for Micky, in their own way. But when a romantic relationship builds between Micky and bartender Charlene ( Amy Adams), he truly realises the nature of his family; Dick has become a crack addict, his mother and his sisters despise his love for the ‘invasive’ Charlene. A ‘tug of war’ develops between the two sides, in which Micky has no idea what he wants. 

It is important to note that while this is a biographical film about boxing, it isn’t a boxing film. I’ve heard many say ‘its about boxing, I hate boxing’, and then talk about on the endless rubbish Rocky sequels (expect 3) and how they have tainted their image of boxing films. While I admit I am no fan of the Rocky Series, and of the sport in general, there have been some great films surrounding boxing; Raging Bull and Million Dollar Baby. The Fighter is another to add to this list.  I was really agitated that the film was being advertised with: ‘It’s the best boxing film since Rocky’, because the rubbishy magazine, most likely Heat, had missed the entire point and focus of the film. This is not to suggest that there isn’t any boxing. There are numerous scenes of Wahlberg in the ring, but they were well-executed and never came across as intrusive or hindrances to the film. These scenes were filmed using the actual cameras used back in the 90s to film sport events, so they had a real authentic feel to them.

The true premise and focus of The Fighter’s is showing Micky and his relationship between his family and his relationship with Charlene. As explained before, the film really pushes this idea of a ‘tug of war’. His family on one side, and Charlene and his step-father on the other, while Micky is in the middle. One scene in particular that showed the complex relationship between Micky and his family, was when Alice and her daughters arrive at Charlene’s apartment. Abuse and threats are being hurled between Alice’s ‘crew’ and Charlene. It was terrifying to see the emotional hatred between the two sides. Then, CATFIGHT!!, but it is one of the most brutal ones I’ve ever seen, with Charlene breaking one of the sisters’ noses. Yet, Micky remains in a conflict between what to do. Does he follow his mother? or Charlene? It really shows the ‘war’ between the characters and the effect on Micky. His relationship between Dick and himself is very complex. On one hand, Dick told him everything about boxing, and still remains his true inspiration for entering the sport. But after various incidents with the law and Dick’s growing addiction, the brotherly relationship is weakening. David Russell, the writers and the cast, truly make these powerful and dramatic relationships the centre of the story. And they pull it off, forming some of the most engrossing scenes in recent cinema. I really cared for the characters and that’s what a film should evoke in an audience. 

The drama created within The Fighter would only be possible by an amazing cast. And this is where the film truly shines. Christian Bale, who won the Oscar for Best Supporting Role thoroughly deserves his award. Though he says that he isn’t a method actor, his talent to truly grasp a role given to him is amazing. Physically, he has toned down from his recent roles as Batman, but not to the grotesque state of The Machinist. Yet, it is really surprising to see him transform from this hulking masked vigilante to a crack addict. His scrawny appearance, fidgety body language, mixed with a unpredictable personality truly made the addiction side to his character seem very realistic. Bale’s delivery and presence really give a uniqueness to his character, that whilst entering the wrongs of society, still remained charming and engrossing. After the final scene, the credits role and there is a small segment of film with the actual two brothers talking about the Micky’s success. What was truly amazing was to actually see how very similar Bale’s performance and the real Dick Eklund were. He really nailed it. 

Melissa Leo also gave an Oscar winning performance. She played Alice Ward, the mother of both the fighters. She comes across as a mental individual, with some serious emotional problems. It is truly scary that in one scene she’s the stereotypical caring mother, then we see her really shows her true aggressive and serious personality. Alice clearly wants the best for both Micky and Dick. But she suffers from emotional pain when she finds out about the extent of Dick’s addiction and Micky getting a new manager. I felt sympathetic towards Leo’s character in these scenes . But then felt a hatred towards her because of her attitude towards Charlene and the endless ploys and excuses to get Micky back. Melissa Leo pulls a magnificent performance that whilst seems villainous on the surface, has a certain humanity to her. She truly deserves her award.  

Amy Adams is also fantastic in the film, and really pulls off the character of Charlene. She plays Micky’s sexy love interest and moral advisor/ supporter, who really develops Micky’s character. She really has a strong personality that has the ability to stand against his family, whilst also showing her romantic and caring nature. Mark Wahlberg’s acting was surprisingly good. However, his previous work never left a good impression on his acting ability. Max Payne, Shooter and Planet of the Apes are films that failed to show his ‘acting’ ability, as well as being terrible. But I’m glad he really proved his talent in The Fighter, seen as though he is playing the main character. His deliver and performance was great. To be honest, the rest of the cast were fantastic. There wasn’t an actor/ actress that failed to impress. 

Gritty and very emotional, The Fighter has a fantastic story that is brilliantly portrayed by the cast, the writing and the director. While Inception took my personal favourite of 2010, The Fighter truly surprised and left me in awe. It is my 2011 film of the year, so far, and should have taken Best Picture at the Oscars. But I haven’t seen The Kings Speech so that could be debated later. The Fighter is a masterpiece of recent cinema. Its got heart, its got soul and it is bloody amazing. 

10/10