The Best Superhero Film of the Decade ... so far

Rating: 9/10 (5 June 2008)

There is a moment towards the climax of "Batman Begins" which illustrates why this film is an exceptional superhero flick. During a stunning car chase sequence, Batman (aka Bruce Wayne), our hero, crushes a number of police cars, at the very least injuring a number of policemen. Once Bruce Wayne returns home, he is reprimanded for showboating by his loyal butler, Alfred. In this sequence, the strengths of the film are neatly summed up. An exciting chase sequence is mixed with ambiguity surrounding our protagonist with questions raised over what is necessary for good to triumph. Indeed, at some points during this film, we are left asking what is good and whether it is triumphing at all. In short, this film merges superb action, clever character work and intelligent moral and philosophical questions all the way through with perfect balance.
During a decade where the box-office has been stuffed with super-heroics of all shapes and sizes, this film remains the best super-hero film of the decade, with the only imminent challenger to that crown seemingly being its own sequel. Even the "Spider-Man" films, which together with the "X-Men" films can lay claim to starting the major revival of the genre, are able to beat this. But the comparisons are strong and the influences upon each other even stronger. "Spider-Man" arrived in 2002 and boasted strong character work as well as blockbuster action sequences. "Batman Begins" was deep into production when "Spider-Man 2" arrived in cinemas in 2004 with even stronger and detailed characters, better visual effects and action sequences that were greeted with applause the world over. The bar had been raised by the time the Dark Knight's origins were brought to the screen a year later. Expectations were high and the pressure was on.
Nolan had the guts to do what he thought was necessary to make the franchise credible after the disaster of Joel Schumacher's "Batman and Robin" from the late nineties. Out went the camp Batsuits and cheesy dialogue, the comical villains and supernatural design. In came a gritty, realistic Gotham with as much backstory as the central character and villains who were not cartoonish. This is a world that is not dystopian but downtrodden and at the centre of it is Bruce Wayne who we find in prison, a lost-soul.
Nolan devotes a relatively action-free hour to the central character, his past and the genesis of Batman. He is trained with brutal methods, whilst we are slowly shown the origin of his fear of bats and the death of his parents. He faces questions of justice and identity before resolving to return to Gotham where he slowly confronts his fears, his guilt and his anger and becomes Batman.
Once the suit is donned, the film hits top gear. The action sequences and set-pieces come thick and fast. We meet our villains (excellent performances from Tom Wilkinson and Cillian Murphy), though the nemesis remains a mystery until late on. We discover the childhood sweetheart, now District Attorney, Rachel Dawes (a competent but unpopular Katie Holmes) and other lead good guy, policeman Gordon (another brilliant supporting performance from Gary Oldman), not to mention faithful butler and serial scene-stealer Alfred (long live Michael Caine). The philosophical questions, already established in the opening half-hour, are expanded upon (a detailed exploration of justice being the main one, with both protagonist and antagonist believing that they are carrying it out) whilst the world is filled in and Nolan's canvas expands.
But the focus never shifts from Bruce Wayne, who is complex, interesting, sympathetic and expertly performed by Christian Bale. For all of the action (and there is enough of it, with none of it disappointing) the most enduring image is an astonishing shot of the Dark Knight silhouetted against the dawn sky as he stands at the top of the skyscraper surveying the metropolis below. It is a beautiful spine-tingling moment that, in an image, shows the strength of the film. This is an in depth exploration of a fascinating central character done with style and in a thrilling manner. This is not just the thinking man's superhero film. It is every man's superhero film with action and intelligence working together to brilliant effect.
The bar had been raised once more and it became evident in what followed. About a year and a half after the release of this reinvention came a similar change of direction for the Bond franchise with "Casino Royale" followed shortly by a trailer for "Spider-Man 3" which seemed to be heading into ultra-dark territory. Spider-Man's identity and soul where going to be at stake, but the film itself failed to match Nolan's effort. In fact, in the attempt to raise the bar once more it fell well short of previous efforts.
And here we are, three years later, with the sequel "The Dark Knight" about to be released, and still Nolan's film sits on top of the pile. Why has no-one matched it? Is it something to do with the character or the director that makes "Batman Begins" unique? The franchise is not unique, but the director is. All you need do is look at his other pieces of work (especially the intelligent "Memento" and the intense "The Prestige") to realise that Christopher Nolan is a director of great intelligence, ability and style. Another film like "Batman Begins" from another franchise is not impossible, it is just very difficult.