Nolan's Batman
Welcome to the second part of the Tommy D Talks Movies/Movie Parliament Batman Build-Up. In preparation for the release of The Dark Knight Rises, Tommy D and myself (Michael Dalton, Prime Minister of Movie Parliament) will review Nolan’s two Batman films to date (Which you can see at Tommy D Talks Movies by clicking here) as well do three in-depth articles on Nolan’s vision, the first of which, being an examination of Christopher Nolan’s cinematic portrayal of the Batman character.
The origin story of Batman had never been explored on film before Batman Begins. Therefore this makes Nolan’s vision of the character immediately distinct to what has come before. However the uniqueness of Nolan’s vision doesn’t stem from this, but rather the way in which that he, through Batman, deconstructs the very nature of what a hero is, can be and should be. One of the first ways he does this, is through the ninja training Bruce Wayne receives, from the League of Shadows.
Grounding Batman in a believably unbelievable environment, the ninja training adds a new dimension to the character, yet offers an ideal reflection of his tactics and manner in popular fiction to date. The words he receives from “Henri Ducard” also speak to how Nolan envisions the character.
“If you make yourself more than just a man, if you devote yourself to an ideal, then they can’t stop you and you become something else entirely...a legend Mr. Wayne, a legend” (A line that is interestingly used in the very first trailer for The Dark Knight Rises)
Bruce Wayne says to Alfred later in Batman Begins,
“As a man, I’m flesh and blood I can be ignored, I can be destroyed but as a symbol...as a symbol I can be incorruptible.” Nolan’s Bruce Wayne/Batman is one with a desire to create something bigger and larger than himself. He is not transforming himself into a hero, yet rather constructing a symbol and an idea that will inspire heroism within others.
“Bats frighten me, I want my enemies to feel my dread” - Nolan’s Batman is one who is knowingly attempting to transport his fear into others. He is inspired, driven by and operates through fear. This is a drive within the character that is not seen in the previous Batman films. The fact that fear is what formed the backbone of Batman’s construction and actions, is evident through our introduction to the caped crusader, in Batman Begins. Where Nolan portrays Batman, as something approaching a horror movie monster.
Batman is made as intimidating, if not more so, than who he is pursuing. Batman is a product and agent of fear, something that he instills constantly to his adversaries and initially to the audience. Rather than the simplistic portrayal of a hero, Batman is as a force of nature that is as dangerous as his enemies. This is in stark contrast to the Burton and Schumacher films. While Burton flirted with this idea, he, while not to the same camp extent as Schumacher, never truly portrayed Batman as anything else other than a hero. Admittedly a creature of the night, yet not a creature of fear. Then again Burton’s vision was much less fear consumed, with all his villains being more comedic presences. Nolan’s Batman is a product of his vision, one that raises moral ambiguity and palpable emotion, rooted in character development and with thematic resonance.
It is this animalistic portrayal of Batman that leads to one of the more controversial elements of Nolan’s portrayal, the voice. In my eyes, this adds to the idea of Batman as a monster, yet also is an example of Nolan’s realism. Bruce Wayne is, as Tom Wilkinson says in Batman Begins, “The prince of Gotham, you’d have to go a thousand miles to meet someone who doesn’t know your name” of course he is going to hide his voice. While many dismiss it as silly I find it necessary and distinctive. It is arguably one of the few elements of Nolan’s portrayal of the character which is 100% different from what has come before and from what will presumably come after
However, this arguably more frightening portrayal of the character is juxtaposed with a moral consistency, that had never previously been cinematically explored. Batman, will not kill. Previous screen Batman's have not devoted themselves to this moral obligation as passionately or as consistently as Nolan’s version. It provides an interesting, arguably vital contrast, to the more fear inducing portrayal and predatory behaviour of the character. It also provides a wonderful pressure point to the character, which the Joker exploits to his and the audience’s joy.
Further evidence of Nolan deconstructing the idea of the hero is to posit, or rather emphasize, the notion that Batman is a servant of the people. As he says at the end of The Dark Knight...
“I’m whatever Gotham needs me to be” He is a servant of Gotham, an employee of the people. At the end of The Dark Knight, Bruce Wayne is willing to damage Batman’s symbol, make him the villain, so that Dent can remain a hero and Gotham’s symbol of hope.
As Alfred says, “That’s the point of Batman. You can be the outcast, make the choice that no-one else can make, the right choice” It could be stated, that Batman’s biggest act of heroism to date in Nolan’s films, has been letting himself be the villain.
As Gordon says, “He’s not a hero, he’s a silent guardian, a watchful protector...a Dark Knight”
Through taking the blame for Harvey Dent’s murderous rampage of misguided revenge, Batman makes himself a villain. Nolan’s hero is one that is as frightening as his villains and one that isn’t afraid to be seen as one, in order to truly achieve heroism. This decision raises questions about the very nature of heroism and demonstrates how Nolan is willing to explore the inner philosophical and political ramifications of not just Batman, but heroism in general. Some enjoy stating that Nolan and his Batman films are overrated, however I ask you, how many other directors have provided a film of this ilk that could inspire such conversation and analysis?
Finally, In the third act of The Dark Knight, Batman becomes George Bush. A strong statement I know, however allow me to explain and then take it back. In order to stop a terrorist, he concocts a device which allows him to tap into all the phones in Gotham City. Unlike George Bush, Batman installs a code which will destroy such device, if only George Bush was friends with Morgan Freeman and U.S. law bills had such a function...Through giving Batman an eerily familiar reaction to the Joker’s campaign of anarchy, Nolan makes Batman a relatable, real presence, instigating real reactions. Through this Nolan makes Batman a political parable of our times, he uses Batman to explore and critique the modern methods of “heroism” in including the scene where Lucius Fox walks away from crumbling computer screens (As part of a montage where Batman explains his decision to take the fall for Harvey Dent’s crimes) Nolan is perhaps saying, that Batman, while not above flirting with those techniques for the immediate, direct security of the citizens of Gotham, is above that as a long-term solution to the justice problems of Gotham. It is his sacrifice, that will be his true, standing act of heroism, that will provide people with hope regarding their security, rather than paranoia and fear.
In conclusion, Nolan’s Batman is a much more cultured, haunted character. He is NOT a hero, he is an agent, a symbol of fear. Nolan’s Batman is philosophical, political and psychological. He uses the character to explore ideas of fear, escalation, justice and deconstruct the very nature of what heroes are. A hero is not somebody who always causes good, the theme of The Dark Knight is how this hero’s very presence is causing more chaos and madness than he can stop. He is not somebody who those he is protecting will necessarily like, or feel safe around. He is not somebody above morally grey techniques and allowing himself to take the blame for murders he didn’t commit. Christopher Nolan’s Batman, is not a hero, it is something bigger, braver and better than that.
Tommy D's Analysis
Fitting in with the overall deeper, darker tone of Christopher Nolan's Batman series are the traits of his version of Batman/Bruce Wayne himself. The outset of Batman Begins shows us a Bruce Wayne who is bent on revenge against the man who killed his parents. He has not yet been able to make the distinction between revenge and justice, considering the two to be synonymous.
While this is his main purpose in the early stages of Begins, Bruce does not seem to have much direction in his life outside of this, as he leaves Gotham (leaving its citizens under the assumption that he is dead) to learn more about how criminals operate. Ironically, however, the place he has left behind is a haven for criminal activity. Moreover, Bruce is bogged down by fear and unable to confront his home city and those close to him until his training with the League of Shadows enlightens him (making the revelation of Ra's al Ghul as a villain that much more surprising).
Emrbacing his fear of bats and finally understanding that justice is for the greater good while revenge is purely for oneself, Bruce returns to Gotham and becomes Batman. The other key trait about his character is that he looks to treat corruption by mending it, whild others -- namely Ra's al Gul -- look to treat it by destroying it. These important viewpoints drive him to fight crime in Gotham, but we get the sense that his difficult childhood is always an additional driving force. Now, however, he has just learned how to harness these emotions in the right way -- one that will benefit people other than just himself.
Christian Bale proves to be the perfect actor for Nolan's vision. He exudes a quiet power while simultaneously conveying subtle emotional cues that remind of us the painful past that is driving him. For Nolan's Batman, the key was controlling those emotions and confronting (and even embracing) his fears so that he could ultimately help Gotham. Bale effortlessly occupies the skin of a character who is always trying to maintain the perfect emotional balance.
By the end of the trilogy's second installment -- The Dark Knight -- we see just how far Batman has come, as he understands the need to take the fall for Harvey Dent's downward spiral into Two-Face and ultimate death. Gotham's knowledge of how the Joker was actually able to corrupt Dent so thoroughly would devastate the city, as he represented a likable figure they could all get behind more easily than the "dark knight" that was Batman. After all, Batman was the hero Gotham deserved, but not the one it needed.
Now, however, with Dent dead, Batman might just be the hero Gotham needs in The Dark Knight Rises. Given the events of The Dark Knight, it will be compelling to see how Batman confronts Gotham's presumed antagonism toward him while simultaneously trying to protect the city from new evils.
The origin story of Batman had never been explored on film before Batman Begins. Therefore this makes Nolan’s vision of the character immediately distinct to what has come before. However the uniqueness of Nolan’s vision doesn’t stem from this, but rather the way in which that he, through Batman, deconstructs the very nature of what a hero is, can be and should be. One of the first ways he does this, is through the ninja training Bruce Wayne receives, from the League of Shadows.
Grounding Batman in a believably unbelievable environment, the ninja training adds a new dimension to the character, yet offers an ideal reflection of his tactics and manner in popular fiction to date. The words he receives from “Henri Ducard” also speak to how Nolan envisions the character.
“If you make yourself more than just a man, if you devote yourself to an ideal, then they can’t stop you and you become something else entirely...a legend Mr. Wayne, a legend” (A line that is interestingly used in the very first trailer for The Dark Knight Rises)
Bruce Wayne says to Alfred later in Batman Begins,
“As a man, I’m flesh and blood I can be ignored, I can be destroyed but as a symbol...as a symbol I can be incorruptible.” Nolan’s Bruce Wayne/Batman is one with a desire to create something bigger and larger than himself. He is not transforming himself into a hero, yet rather constructing a symbol and an idea that will inspire heroism within others.
“Bats frighten me, I want my enemies to feel my dread” - Nolan’s Batman is one who is knowingly attempting to transport his fear into others. He is inspired, driven by and operates through fear. This is a drive within the character that is not seen in the previous Batman films. The fact that fear is what formed the backbone of Batman’s construction and actions, is evident through our introduction to the caped crusader, in Batman Begins. Where Nolan portrays Batman, as something approaching a horror movie monster.
Batman is made as intimidating, if not more so, than who he is pursuing. Batman is a product and agent of fear, something that he instills constantly to his adversaries and initially to the audience. Rather than the simplistic portrayal of a hero, Batman is as a force of nature that is as dangerous as his enemies. This is in stark contrast to the Burton and Schumacher films. While Burton flirted with this idea, he, while not to the same camp extent as Schumacher, never truly portrayed Batman as anything else other than a hero. Admittedly a creature of the night, yet not a creature of fear. Then again Burton’s vision was much less fear consumed, with all his villains being more comedic presences. Nolan’s Batman is a product of his vision, one that raises moral ambiguity and palpable emotion, rooted in character development and with thematic resonance.
It is this animalistic portrayal of Batman that leads to one of the more controversial elements of Nolan’s portrayal, the voice. In my eyes, this adds to the idea of Batman as a monster, yet also is an example of Nolan’s realism. Bruce Wayne is, as Tom Wilkinson says in Batman Begins, “The prince of Gotham, you’d have to go a thousand miles to meet someone who doesn’t know your name” of course he is going to hide his voice. While many dismiss it as silly I find it necessary and distinctive. It is arguably one of the few elements of Nolan’s portrayal of the character which is 100% different from what has come before and from what will presumably come after
However, this arguably more frightening portrayal of the character is juxtaposed with a moral consistency, that had never previously been cinematically explored. Batman, will not kill. Previous screen Batman's have not devoted themselves to this moral obligation as passionately or as consistently as Nolan’s version. It provides an interesting, arguably vital contrast, to the more fear inducing portrayal and predatory behaviour of the character. It also provides a wonderful pressure point to the character, which the Joker exploits to his and the audience’s joy.
Further evidence of Nolan deconstructing the idea of the hero is to posit, or rather emphasize, the notion that Batman is a servant of the people. As he says at the end of The Dark Knight...
“I’m whatever Gotham needs me to be” He is a servant of Gotham, an employee of the people. At the end of The Dark Knight, Bruce Wayne is willing to damage Batman’s symbol, make him the villain, so that Dent can remain a hero and Gotham’s symbol of hope.
As Alfred says, “That’s the point of Batman. You can be the outcast, make the choice that no-one else can make, the right choice” It could be stated, that Batman’s biggest act of heroism to date in Nolan’s films, has been letting himself be the villain.
As Gordon says, “He’s not a hero, he’s a silent guardian, a watchful protector...a Dark Knight”
Through taking the blame for Harvey Dent’s murderous rampage of misguided revenge, Batman makes himself a villain. Nolan’s hero is one that is as frightening as his villains and one that isn’t afraid to be seen as one, in order to truly achieve heroism. This decision raises questions about the very nature of heroism and demonstrates how Nolan is willing to explore the inner philosophical and political ramifications of not just Batman, but heroism in general. Some enjoy stating that Nolan and his Batman films are overrated, however I ask you, how many other directors have provided a film of this ilk that could inspire such conversation and analysis?
Finally, In the third act of The Dark Knight, Batman becomes George Bush. A strong statement I know, however allow me to explain and then take it back. In order to stop a terrorist, he concocts a device which allows him to tap into all the phones in Gotham City. Unlike George Bush, Batman installs a code which will destroy such device, if only George Bush was friends with Morgan Freeman and U.S. law bills had such a function...Through giving Batman an eerily familiar reaction to the Joker’s campaign of anarchy, Nolan makes Batman a relatable, real presence, instigating real reactions. Through this Nolan makes Batman a political parable of our times, he uses Batman to explore and critique the modern methods of “heroism” in including the scene where Lucius Fox walks away from crumbling computer screens (As part of a montage where Batman explains his decision to take the fall for Harvey Dent’s crimes) Nolan is perhaps saying, that Batman, while not above flirting with those techniques for the immediate, direct security of the citizens of Gotham, is above that as a long-term solution to the justice problems of Gotham. It is his sacrifice, that will be his true, standing act of heroism, that will provide people with hope regarding their security, rather than paranoia and fear.
In conclusion, Nolan’s Batman is a much more cultured, haunted character. He is NOT a hero, he is an agent, a symbol of fear. Nolan’s Batman is philosophical, political and psychological. He uses the character to explore ideas of fear, escalation, justice and deconstruct the very nature of what heroes are. A hero is not somebody who always causes good, the theme of The Dark Knight is how this hero’s very presence is causing more chaos and madness than he can stop. He is not somebody who those he is protecting will necessarily like, or feel safe around. He is not somebody above morally grey techniques and allowing himself to take the blame for murders he didn’t commit. Christopher Nolan’s Batman, is not a hero, it is something bigger, braver and better than that.
Tommy D's Analysis
Fitting in with the overall deeper, darker tone of Christopher Nolan's Batman series are the traits of his version of Batman/Bruce Wayne himself. The outset of Batman Begins shows us a Bruce Wayne who is bent on revenge against the man who killed his parents. He has not yet been able to make the distinction between revenge and justice, considering the two to be synonymous.
While this is his main purpose in the early stages of Begins, Bruce does not seem to have much direction in his life outside of this, as he leaves Gotham (leaving its citizens under the assumption that he is dead) to learn more about how criminals operate. Ironically, however, the place he has left behind is a haven for criminal activity. Moreover, Bruce is bogged down by fear and unable to confront his home city and those close to him until his training with the League of Shadows enlightens him (making the revelation of Ra's al Ghul as a villain that much more surprising).
Emrbacing his fear of bats and finally understanding that justice is for the greater good while revenge is purely for oneself, Bruce returns to Gotham and becomes Batman. The other key trait about his character is that he looks to treat corruption by mending it, whild others -- namely Ra's al Gul -- look to treat it by destroying it. These important viewpoints drive him to fight crime in Gotham, but we get the sense that his difficult childhood is always an additional driving force. Now, however, he has just learned how to harness these emotions in the right way -- one that will benefit people other than just himself.
Christian Bale proves to be the perfect actor for Nolan's vision. He exudes a quiet power while simultaneously conveying subtle emotional cues that remind of us the painful past that is driving him. For Nolan's Batman, the key was controlling those emotions and confronting (and even embracing) his fears so that he could ultimately help Gotham. Bale effortlessly occupies the skin of a character who is always trying to maintain the perfect emotional balance.
By the end of the trilogy's second installment -- The Dark Knight -- we see just how far Batman has come, as he understands the need to take the fall for Harvey Dent's downward spiral into Two-Face and ultimate death. Gotham's knowledge of how the Joker was actually able to corrupt Dent so thoroughly would devastate the city, as he represented a likable figure they could all get behind more easily than the "dark knight" that was Batman. After all, Batman was the hero Gotham deserved, but not the one it needed.
Now, however, with Dent dead, Batman might just be the hero Gotham needs in The Dark Knight Rises. Given the events of The Dark Knight, it will be compelling to see how Batman confronts Gotham's presumed antagonism toward him while simultaneously trying to protect the city from new evils.