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On Saturday, June 4th, DC Comics took about 300 attendees of their DCU Coming Attractions panel to a special advance IMAX screening of Batman Begins. Among the lucky blue wristband holders was Newsarama founder Michael Doran. He checks back in to the site with a review.
Put any lingering fears to rest Bat-fans. The casting of Katie Holmes and Ken Watanabe make perfect sense… Christian Bale possesses enough requisite intensity to at times border on primal and ferocious…. And yes, even the roadster-slash-Humvee-slash-Sherman Tank hybrid Batmobile is a welcome (and expertly exploited) addition to the Batman mythos…
…or perhaps better put,
a Batman mythos.
Though it takes until the film’s second act to fully take flight, what’s immediately striking about director Christopher Nolan’s
Batman Begins is that it makes comparisons to any previous film versions of Batman and actors to wear the cowl utterly irrelevant. Concerns as to whether it was too soon to revive the franchise is rendered beside the point. And fanboys can also throw out their lists of “nitpicks” based on leaked Internet script reviews, rumors, and publicity stills - they’ll be forgotten halfway through either way.
This is a new, fully realized, and immersive vision of DC’s Dark Knight that not only stands on its own as a genuinely awe-inspiring achievement in action-adventure, but could mark a turning point for how comic book superheroes are interpreted on film.
Reviewing the particulars of
Batman Begins in great detail for Newsarama readers is probably unnecessary. Directed by
Memento’s Christopher Nolan, with a screenplay by Nolan and comic books’ own David Goyer based in good part on Frank Miller and David Mazzucchelli’s
Batman: Year One, the story follows Bruce Wayne’s journey from angry young man without a focus for his rage as he’s guided to his Batman persona by a number of moral guideposts.
The memories of his kindly murdered father Dr. Thomas Wayne (Linus Roache) and the steadfast faith of family Butler Alfred (Michael Caine) serve as his center. But in
this Batman, Bruce’s sometimes wildly swinging moral compass has two greater influences of opposite polarities. The shadowy, uncompromising agenda of Ra’s Ah Ghul and right-hand man Henri Ducard (Watanabe and Liam Neeson) puts him on the path to vigilantism, but he never loses sight of the youthful, righteous idealism of his childhood friend, love interest, and eventual Gotham Assistant DA Rachel Dawes, played with effective youthful, righteous idealism by the dewy Holmes.
But a story that’s survived 70 years isn’t in the need of major reworking. The soaring success of
Batman Begins isn’t in the tale, it’s in its telling.
The casting of the major roles is nearly flawless. Gary Oldman completely disappears into his role as Jim Gordon, the one Gotham cop Batman learns to trust. Michael Caine is Michael Caine and not much more needs to be said than that, other than to credit Nolan and Goyer for making Alfred more than a familiar prop.
Cillian Murphy breaks out as a major screen presence, holding his own and stealing most of his scenes as the genuinely frightening Scarecrow and the even more unsettling Dr. Jonathan Crane. And Neeson, Tom Wilkinson as mob boss Carmine Falcone, and Morgan Freeman as Lucius Fox deliver exactly what you’d expect of them.
Most importantly, Bale doesn’t let himself get lost in the more impressive resumes surrounding him. Running a gamut of personas as Bruce and Batman without ever hitting a false note, one standout scene involves a confrontation between Batman and corrupt Gotham cop Detective Flass.
To spoil it would be a disservice, but whether Bale’s take on it was written in the script, suggested by Nolan, or his own person read, it’s a surprising and spontaneous applause-inducing moment that stamps the character as his.
Whoever is responsible didn’t forget that Wayne chose to be a “bat-man” for a particular reason, a reason that’s often back-burnered the more time a costumed Batman spends on the screen or even the comic book page.

Even the Batmobile is perfectly cast. While an unusual choice, an extended adrenaline-rush of a car chase sequence puts the film in same conversation with the likes of the
The Blue Brothers and
The French Connection - high praise indeed. Nolan and his production designers create elaborate stunts that couldn’t have been achieved with a low-riding, elongated dragster. It may not be a traditional Batmobile, but there’s darn good reason for that.
The Oscar-worthy production design is in fact the film’s overall ace in the hole. Everything from costuming (the Scarecrow’s mask), to sound design (yes, the Batmobile’s front tires have their own distinct sound) is made memorable.
Special effects never dominate the screen but play an important role, particularly in scenes shown from the point of view of people affected by the Scarecrow’s fear-inducing gas. It’s here the film earns in PG-13 rating in spades. Nolan doesn’t shy away from putting some rather disturbing images on film. Parents will have to genuinely consider whether
Batman Begins is appropriate for younger kids who no doubt will be begging to see it.
Most impressive, however, is the mix of on-location Chicago exteriors mixed seamlessly with CGI that gives the production a unique sense of grounded reality
along with immense scale. To break my own rule about comparisons to previous films,
Batman Begins completely breaks free of any Burton-esque “backlot”/soundstage feel of Gotham City.
In fact, the overall effect of
Batman Begins may be to break free of the way Hollywood regards the superhero movie. Beside a tiny nod to the first Batman film, Nolan and Goyer don’t play to any of the superhero conventions established over the last 15 years.
The story is not homogenized for family audiences. There are no cameos by former comic book creators, TV actors, or “Easter Eggs” for comic book fans. The cast is almost entirely without a commercially attentive name. The word “popcorn” can’t legitimately be used in any description or review. This is a serious, earnest interpretation that feels brand new and delivers spectacularly because of its gravitas, and not despite it. If it also scores at the box-office (and all signs point to that happening), it may well mark a sea change in what comes next.
In 1989 Tim Burton’s
Batman ushered in the era of the modern superhero/comic book movie. On June 15th,
Batman Begins may well rewrite the rulebook for
future superhero movies.
Batman Begins isn’t just good. It’s
that good.