cinemabon
03-21-2022, 01:23 AM
The Batman (2022) directed and written by Matt Reeves
Spoiler Alert! DO NOT READ if you haven’t seen the film.
This is a dark Batman, a different Batman, a complex Batman; told on an epic scale with extreme violence, and a convoluted plot. We understand from the opening narration that this story has a biographical retrospective feel to it. A television is on in a room with a man who is talking on a land-line telephone. The newscaster mentions the rising crimewave in Gotham City despite the appearance of a “masked vigilante,” who apparently is helping the police in investigations. This Batman is not a welcome personality to the Gotham City scene, rather considered a busy-body who often interferes or hinders police work with his presence. No one in Gotham likes him; even Gordon regards him as a necessary evil.
This film is not like any Batman ever made in the series. This is an epic film told on an epic scale (three hours) that digs deep into the psychology of why Bruce Wayne became Batman. More akin in style to Frank Miller’s “Year One” than it is to any other version, including the gritty Christian Slater versions. This version is grittier, dirtier, and more violent than any Batman every made, and therefore a purely adult film. This is not a film that a child or even an early teen would understand or appreciate in its complexity. There are psychological twists, rampant drug usage and extreme forms of violence intended for adult viewers.
The criminal element is about and the Batman is nowhere to be found… until a spotlight appears in the night sky, sending most criminals scurrying off in fear. If you haven’t seen any trailers, and you aren’t aware of any plot devices, then as an audience, you are unaware of what is happening as the film opens. To say it is a dark and rainy night in Gotham is an understatement. We land on a scene inside a penthouse suite. We switch to the exterior. The subjective camera looks through two lenses, as if we were seeing the object through the eyes of an old-fashioned set of binoculars. We aren’t certain who this is. The film opens with lightening flashes that reveal the advance of the mysterious person. We hope it isn’t Batman because in the next moment, the figure commits brutal murder.
The director returns to subjective camera again, this time following Commissioner Gordon (Jeffery Wright) as he enters the crime scene. We see a long line of police officers lining a dark twisting hallway from someone’s point of view (POV camera or subjective camera). Whoever it is, the officers appear astonished and disgusted. Finally, the last police officer, Martinez (Gil Perez-Abraham) steps into the path of the camera. “This is a crime scene,” he blurts. “No place for freaks.” The camera switches to Gordon who walks over to the police officer, argues with him for a moment before the officer lets the person through.
This is the first time in the film we see Batman (Robert Pattinson) in full costume. He appears as others have in the past with a similar uniform. Other investigators enter the crime scene of higher rank, and again, an argument with Commissioner Gordon breaks out regarding Batman’s presence. While this goes on in the background, Batman surveys the crime scene with a discerning eye. Here he comes across more as a detective in the vein of a Sherlock Holmes than he does as a superhero. He examines small details the other investigators then find intriguing. Though he doesn’t speak, his actions speak volumes about his intentions. He’s there to solve a crime and not seek publicity or self-aggrandizement.
During this first crime scene, we get all of the most important elements that come to play as plot devices – the murderer leaves notes addressed to Batman, cryptic messages that resemble clues. This is our first indication of what or who we are dealing with as a criminal “mastermind.” To anyone with any knowledge of Batman lore knows, it was/is the Riddler who left notes to Batman about the crime or other crimes he intended to make in the future. While that is not apparent to the characters in the film, the audience knows that Batman’s nemesis is the Riddler. Hence, the reason for the subject camera as well. Not only are the Riddler’s intentions a mystery to Batman, but his identity is kept a secret from us throughout the entire film. We don’t discover the Riddler’s identity until the very end of the movie.
When it comes time for Bruce to strip off his mask, he doesn’t ride in some fancy car to an underground lair. Instead, he hops on a motorcycle and enters the basement of the Wayne Tower in downtown Gotham. There is no Wayne Manor here. While there are some similarities with the traditional story, this Batman has made several plot changes. Bruce has a dark, messy computer lab, surrounded by bats, of course. Enter Alfred (Andy Serkis), with a more contentious confrontational relationship to Bruce. He’s seemingly concerned more about money and paying the bills than he is about the welfare of his charge. They go tit or tat until Alfred notices the Riddler’s code and offers to use his “war” experience as a code breaker. This reinforces the bond between them that appears strained in the recent past.
Bruce dons the outfit again and goes in search of more clues to the notorious nightclub run by the Penguin (Colin Farrell). If this isn’t nominated for a makeup Oscar, I don’t know who deserves one better. Farrell is completely hidden beneath this expert mask that appears very real. Even his voice doesn’t sound like Colin Farrell. After Batman fights his way into the club, the Penguin brings him into his private office. During their discussion, Catwoman (Zoe Kravitz) makes her first appearance as an assistant to Penguin. She isn’t in costume, rather wears a sexy outfit, part of which matches photos the Batman has in his clue file. He follows her back to her apartment and finds out she intends to perform a robbery that evening.
Meanwhile, Gordon uses the famous searchlight to summon Batman. Only this cast-outline has a weird shape to it, more like that of a real bat and not the “logo” symbol Batman wears on his chest. They have several encounters this way – on top of some construction site – where they exchange information, the same troupe used in past Batman iterations. This exchange of information performs two functions for the audience. It reveals the relationship between Gordon and Batman, and slowly unveils important plot points. A good friend called this “maid and butler” dialogue to give the audience enough information that helps drive the plot and explain character motivations.
This film has a very complicated plot with many twists and turns. To reveal or even hint at them would be a disservice to any reader; like revealing the ending of Citizen Kane. There are many surprises, and what starts to be an ending, only becomes a stepping stone toward an even bigger climax to this epic work.
Director Matt Reeves took on this project from Ben Affleck who started the project with the idea of both directing and starring as Batman. Affleck dropped out due to personal reasons. While WB considered several directors, Reeves rose to the top due to his commitment to the subject. He threw out the Affleck script and with the help of writer Peter Craig, created a script based on Frank Miller’s Year One that featured a broken Bruce Wayne, driven to fight crime in a corrupt city that killed his parents (their backstory also different). Gone are the trappings of the billionaire playboy living the lifestyle of the rich and famous. Wayne lives in a hole, barely sleeps, and is driven by, obsessed, with crime prevention to the point of distraction. It’s only when Catwoman forces herself on him, does Bruce form any kind of personal relationship with anyone in the entire film. Another trick of Reeves. Prior to Batman’s arrival, we hear his heavy footsteps, Reeves uses the booted-footfalls to foreshadow Batman’s arrival.
Greig Fraser, ASC, whose brilliant work on Dune gave that film a unique appearance, uses a great deal of subjective camera to emphasize character involvement. In one scene, the screen is entirely black with the characters only lit by gun fire in staccato fashion. The film also lacks the usual symphonic score (used only in just a few important key scenes). Michael Giacchino (Oscar for Up; also scored Spiderman: No Way Home) understated score consists mostly of percussion until only a few key scenes bring in a full orchestrated queue. One key scene at the film’s climax brings out the entire symphony with maximum effect.
This Batman is a very difficult film to watch… until it begins to unravel as a very complex and profound series of mysteries, not just Riddler’s puzzles, but the whole personality of Batman’s character. This isn’t just a talking mouth underneath a cape and cowl. Pattison’s Batman brings depth to a role mostly superficial in the past thanks to a heavy costume and short brusque lines. Three films are planned for the series. This first one is, perhaps, the greatest Batman film of all time, elevating the genre to a new level of excellence and one that Reeves will be loathed to duplicate in its mastery.
Spoiler Alert! DO NOT READ if you haven’t seen the film.
This is a dark Batman, a different Batman, a complex Batman; told on an epic scale with extreme violence, and a convoluted plot. We understand from the opening narration that this story has a biographical retrospective feel to it. A television is on in a room with a man who is talking on a land-line telephone. The newscaster mentions the rising crimewave in Gotham City despite the appearance of a “masked vigilante,” who apparently is helping the police in investigations. This Batman is not a welcome personality to the Gotham City scene, rather considered a busy-body who often interferes or hinders police work with his presence. No one in Gotham likes him; even Gordon regards him as a necessary evil.
This film is not like any Batman ever made in the series. This is an epic film told on an epic scale (three hours) that digs deep into the psychology of why Bruce Wayne became Batman. More akin in style to Frank Miller’s “Year One” than it is to any other version, including the gritty Christian Slater versions. This version is grittier, dirtier, and more violent than any Batman every made, and therefore a purely adult film. This is not a film that a child or even an early teen would understand or appreciate in its complexity. There are psychological twists, rampant drug usage and extreme forms of violence intended for adult viewers.
The criminal element is about and the Batman is nowhere to be found… until a spotlight appears in the night sky, sending most criminals scurrying off in fear. If you haven’t seen any trailers, and you aren’t aware of any plot devices, then as an audience, you are unaware of what is happening as the film opens. To say it is a dark and rainy night in Gotham is an understatement. We land on a scene inside a penthouse suite. We switch to the exterior. The subjective camera looks through two lenses, as if we were seeing the object through the eyes of an old-fashioned set of binoculars. We aren’t certain who this is. The film opens with lightening flashes that reveal the advance of the mysterious person. We hope it isn’t Batman because in the next moment, the figure commits brutal murder.
The director returns to subjective camera again, this time following Commissioner Gordon (Jeffery Wright) as he enters the crime scene. We see a long line of police officers lining a dark twisting hallway from someone’s point of view (POV camera or subjective camera). Whoever it is, the officers appear astonished and disgusted. Finally, the last police officer, Martinez (Gil Perez-Abraham) steps into the path of the camera. “This is a crime scene,” he blurts. “No place for freaks.” The camera switches to Gordon who walks over to the police officer, argues with him for a moment before the officer lets the person through.
This is the first time in the film we see Batman (Robert Pattinson) in full costume. He appears as others have in the past with a similar uniform. Other investigators enter the crime scene of higher rank, and again, an argument with Commissioner Gordon breaks out regarding Batman’s presence. While this goes on in the background, Batman surveys the crime scene with a discerning eye. Here he comes across more as a detective in the vein of a Sherlock Holmes than he does as a superhero. He examines small details the other investigators then find intriguing. Though he doesn’t speak, his actions speak volumes about his intentions. He’s there to solve a crime and not seek publicity or self-aggrandizement.
During this first crime scene, we get all of the most important elements that come to play as plot devices – the murderer leaves notes addressed to Batman, cryptic messages that resemble clues. This is our first indication of what or who we are dealing with as a criminal “mastermind.” To anyone with any knowledge of Batman lore knows, it was/is the Riddler who left notes to Batman about the crime or other crimes he intended to make in the future. While that is not apparent to the characters in the film, the audience knows that Batman’s nemesis is the Riddler. Hence, the reason for the subject camera as well. Not only are the Riddler’s intentions a mystery to Batman, but his identity is kept a secret from us throughout the entire film. We don’t discover the Riddler’s identity until the very end of the movie.
When it comes time for Bruce to strip off his mask, he doesn’t ride in some fancy car to an underground lair. Instead, he hops on a motorcycle and enters the basement of the Wayne Tower in downtown Gotham. There is no Wayne Manor here. While there are some similarities with the traditional story, this Batman has made several plot changes. Bruce has a dark, messy computer lab, surrounded by bats, of course. Enter Alfred (Andy Serkis), with a more contentious confrontational relationship to Bruce. He’s seemingly concerned more about money and paying the bills than he is about the welfare of his charge. They go tit or tat until Alfred notices the Riddler’s code and offers to use his “war” experience as a code breaker. This reinforces the bond between them that appears strained in the recent past.
Bruce dons the outfit again and goes in search of more clues to the notorious nightclub run by the Penguin (Colin Farrell). If this isn’t nominated for a makeup Oscar, I don’t know who deserves one better. Farrell is completely hidden beneath this expert mask that appears very real. Even his voice doesn’t sound like Colin Farrell. After Batman fights his way into the club, the Penguin brings him into his private office. During their discussion, Catwoman (Zoe Kravitz) makes her first appearance as an assistant to Penguin. She isn’t in costume, rather wears a sexy outfit, part of which matches photos the Batman has in his clue file. He follows her back to her apartment and finds out she intends to perform a robbery that evening.
Meanwhile, Gordon uses the famous searchlight to summon Batman. Only this cast-outline has a weird shape to it, more like that of a real bat and not the “logo” symbol Batman wears on his chest. They have several encounters this way – on top of some construction site – where they exchange information, the same troupe used in past Batman iterations. This exchange of information performs two functions for the audience. It reveals the relationship between Gordon and Batman, and slowly unveils important plot points. A good friend called this “maid and butler” dialogue to give the audience enough information that helps drive the plot and explain character motivations.
This film has a very complicated plot with many twists and turns. To reveal or even hint at them would be a disservice to any reader; like revealing the ending of Citizen Kane. There are many surprises, and what starts to be an ending, only becomes a stepping stone toward an even bigger climax to this epic work.
Director Matt Reeves took on this project from Ben Affleck who started the project with the idea of both directing and starring as Batman. Affleck dropped out due to personal reasons. While WB considered several directors, Reeves rose to the top due to his commitment to the subject. He threw out the Affleck script and with the help of writer Peter Craig, created a script based on Frank Miller’s Year One that featured a broken Bruce Wayne, driven to fight crime in a corrupt city that killed his parents (their backstory also different). Gone are the trappings of the billionaire playboy living the lifestyle of the rich and famous. Wayne lives in a hole, barely sleeps, and is driven by, obsessed, with crime prevention to the point of distraction. It’s only when Catwoman forces herself on him, does Bruce form any kind of personal relationship with anyone in the entire film. Another trick of Reeves. Prior to Batman’s arrival, we hear his heavy footsteps, Reeves uses the booted-footfalls to foreshadow Batman’s arrival.
Greig Fraser, ASC, whose brilliant work on Dune gave that film a unique appearance, uses a great deal of subjective camera to emphasize character involvement. In one scene, the screen is entirely black with the characters only lit by gun fire in staccato fashion. The film also lacks the usual symphonic score (used only in just a few important key scenes). Michael Giacchino (Oscar for Up; also scored Spiderman: No Way Home) understated score consists mostly of percussion until only a few key scenes bring in a full orchestrated queue. One key scene at the film’s climax brings out the entire symphony with maximum effect.
This Batman is a very difficult film to watch… until it begins to unravel as a very complex and profound series of mysteries, not just Riddler’s puzzles, but the whole personality of Batman’s character. This isn’t just a talking mouth underneath a cape and cowl. Pattison’s Batman brings depth to a role mostly superficial in the past thanks to a heavy costume and short brusque lines. Three films are planned for the series. This first one is, perhaps, the greatest Batman film of all time, elevating the genre to a new level of excellence and one that Reeves will be loathed to duplicate in its mastery.