6/15/05 Edition
The
BATMAN Returns!
Andy
Reviews The Latest Incarnation of the Caped Crusader
Plus:
The Mail Bag (Also) Returns!
It’s easy to see why filmmakers have had such a difficult
time trying
to capture the exploits of Bob Kane’s Dark Knight on-screen.
The inherent psychological aspects of the Bruce Wayne character, his
inner-demons and guilt over the death of his parents, and the curious
costume he wears are all obstacles one faces in trying to make a filmed
adaptation of the DC Comics hero.
From the campy Adam West-Burt Ward ‘60s TV show to Tim
Burton’s uneven
though entertaining box-office hits and Joel Schumacher’s
poorly-received, decadent sequels, the live-action Batman productions
have all illustrated -- to one degree or another -- the problems that
bringing the super-hero’s adventures to the screen entail.
Now the franchise has started anew with the release of Christopher
Nolan’s BATMAN BEGINS,
an epic “re-imagining” of the hero that captures
some of the essence of Frank Miller’s superb
“Batman: Year One” comic book.
It’s an ambitious, at-times enthralling entertainment that
unfortunately falters during its final third -- in a manner that
ironically recalls the problems of its immediate predecessors at that.
First the good news: Christian Bale makes for a superb Bruce Wayne, who
we meet at the beginning as a young man searching for his soul. Having
left Gotham City and his name to the point where he’s
believed dead,
Wayne encounters a mysterious man named “Ducard”
(Liam Neeson) while
serving time in a Far East prison. In a sequence reminiscent of
“The
Shadow,”Ducard tutors Wayne in the ways of the
“League of Shadows,” a
group attempting to bring justice to the world by tilting the axis of
power in various global locales.
Wayne leaves the group behind, though, after he refuses to execute a
criminal, and returns to find Gotham City in the same, depleted
condition one will recall from the old Tim Burton films. Criminals run
amok, including a city mobster (a miscast Tom Wilkinson) and an Arkham
Asylum shrink (Cillian Murphy) who has more up his sleeve than just
treating his patients. One good cop -- Jim Gordon (Gary Oldman) --
attempts to fight the injustice along with Wayne’s childhood
pal-turned-D.A. Rachel Dawes (Katie Holmes), but their efforts are
thwarted by a ring of corruption that extends to every nook and cranny
of the dank metropolis.
Meanwhile, back at Wayne Manor, trusty butler Alfred (the wonderful
Michael Caine) attempts to pick the troubled Bruce up by his bootstraps
by indulging in his master’s latest interest: combating evil
by
becoming a one-man wrecking crew. Armed with weapons from Wayne
Industries engineer Lucius Fox (Morgan Freeman), Bruce springs into
action and fights his childhood traumas by becoming Batman, or -- as
Murphy at one point intones -- “The Bat-Man!”
Impressively shot in widescreen in a way that looks more like the work
of Ridley Scott than Burton or Schumacher’s efforts,
Nolan’s “Batman
Begins” starts well, if not a bit leisurely. Bale looks the
part and is
given a well-crafted backstory courtesy of Nolan and co-writer David S.
Goyer. His interplay with Caine -- who’s given one of his
best roles in
years -- is tremendous, and being able to see veterans like Caine and
Freeman together on-screen is worth the price of admission alone.
Nolan effectively illustrates Wayne’s guilt over his
parents’ murder
and perfectly sets up the springs that set his transformation into
Batman in motion. Heck, we even get to see Batman doing some detective
work -- a cornerstone of the comics that was almost entirely lost
amongst the bombastic action and effects of the previous
“Batman” films.
Where the movie gets into trouble -- and unfortunately a fair degree of
it -- is in its final third. After doing such an impressive job setting
up the plot, Nolan and Goyer come up with an absurd finale where the
villains attempt to turn Gotham’s residents against one
another by
contaminating the water supply. Their method? A chemical that -- once
sprayed through the air and in concert with the poisoned liquid --
makes its victims hallucinate really bad CGI make-up effects.
This results in a weird, choppy climax that almost feels like
“Escape
From Gotham City,” except with Batman filling in for Snake
Plissken.
What’s worse is that the special effects are laughably bad --
the
affected Gothamites see Batman as a blurry figure with glowing eyes and
light emitting from his mouth, much the same way that Michael Mann
depicted vampires in “The Keep.” Needless to say it
doesn’t work, while
the “demise” of the nefarious Scarecrow is
hysterically funny -- and
not in an intended way, either.
The cast is also a mixed bag. Bale and Caine work so well together that
they help to off-set some of the picture’s curious, and less
effective,
performances. Tom Wilkinson, a fine British character actor, seems
totally misplaced here as an inner-city mobster -- a role that cries
out for the likes of a young Paul Sorvino or, at the least, Joe
Pantoliano. Cillian Murphy seems far too young as the shady Dr. Crane,
with his over-the-top “look out for the Bat-Man!”
line providing a few
unintended chuckles for the audience I screened the movie with. Katie
Holmes comes off as a lightweight against the likes of Bale, Caine, and
Freeman, and her final scene with Bale is too pat and predictable.
Hans Zimmer and James Newton Howard’s “tag
team” soundtrack also
doesn’t work well enough to justify the collaboration between
the two
veteran composers. Though propulsive and at times effective (thankfully
in a less blaring way than Elliot Goldenthal’s excessive
scores for the
Schumacher films), it’s also highly forgettable.
There’s no central
thematic material to grasp onto, and their tiresome cue for the
Batmobile chase -- which sounds like what Samuel Barber might have come
up with in an “Adagio For Batman” -- stands as a
severe miscalculation.
Ultimately, “Batman Begins” has nearly as many
problems as it has
positives, yet Nolan is enough of a craftsman and artist that the pros
outweigh the cons. Always exciting to watch and with strong central
performances from Bale and Caine, this is a flawed but fascinating new
take on the comic book legend -- better than the Schumacher films and
essentially as satisfying as Burton’s efforts. Which is to
say, it’s
entertaining, but there’s still room for improvement. Even
now, there
must be something about Batman and movies mixing together... (***,
PG-13, 137 mins.)
Aisle
Seat Mail Bag
From Preston Neal Jones:
Three
separate items in today's Aisle
Seat column move me to write you, and if there's one commonality which
unites all three different topics, it might be "nostalgia."
My
nostalgia for LIFEGUARD is mostly
personal, partly having to do with the fact that Mr. Petrie used his
own living room for one of his settings, consequently one scene begins
on a close-up of a painting done by my late brother Deke. (He
and
Petrie had acted together on Broadway in the late 40's.) I'm
glad you
appreciate this off-beat film, and I'm glad to learn it's now available
on DVD -- which will allow me to freeze the frame on my brother's
artwork...
You're
also right on target in your
high appraisal of THE REIVERS and its score. You probably
already know
that this was a replacement score, done by Williams at Rydell's
insistence. (If memory serves, the original score was by Lalo
Schifrin.) You're also correct, I believe, that in terms of
motion
pictures this was a watershed for Williams. I'm old enough,
though, to
remember some obscure work for television in which Williams
foreshadowed the musical sensitivity and also the feel for Americana
evinced in REIVERS. I'm speaking of a drama anthology series
sponsored
by Alcoa and broadcast on ABC called "Alcoa Premiere" (when it wasn't
simply "Premiere.") It was hosted every week by Fred Astaire,
which is
why I, a high schooler, was watching every week, recording each show on
my Wollensak reel-to-reel. Very quickly I became impressed by
the
quality and the versatility of Mr. Williams' music each week, and I
weep that this was all under the auspices of that famous
dog-in-the-manger mega-studio, Universal. Somewhere in its
vaults, if
they haven't been destroyed, lie, unheard since the early sixties, a
wealth of wonderful material by Mr. Williams which I pray, against all
odds, will some time finally see the light of day. If you
could hear
it, I think you'd share my mad dream.
Finally,
THE FAR HORIZONS, with its
"standard score by Hans J. Salter." For a lot of us
golden-agers, a
score by Salter set a very high standard. I haven't seen
HORIZONS for
many years, but just a few weeks ago I was enjoying the brief suite
from it that Tony Thomas released on LP, particularly the lovely theme
for Sacajawea. Sorry you didn't care for it.
Perhaps some day you'll
be more favorably impressed by one or another of Hans' western
scores.
For me, his high water mark in the genre was BEND OF THE RIVER.
Preston, thanks so much for your comments. I meant no offense to Mr.
Salter -- just that I didn’t think the score was particularly
noteworthy, especially at a time when so many outstanding Golden Age
works were being routinely composed (makes one lament just how awful
the state of modern day film scoring currently is, doesn’t
it?).
From Terry Hartzell:
Andy,
I
enjoyed your review of the DVD
release of our mutual favorite, "The Reivers". Now, if we can
just get
an expanded original score soundtrack
(including
the music from the climactic race).
I’m right with you Terry. I can’t understand why
just one brief cue was
added to the Columbia “Legacy” CD back in the
‘90s -- a disc which also
has a compressed dynamic range when compared to Masters Film
Music’s
more satisfying 1990 CD release. Hopefully the masters are still out
there somewhere!
From Michael Contreras:
Hello
Andy,
I've
followed your column religiously
on FSM for several years and find that you and I agree on most of your
film evaluations. So, I was thinking today about those movies
that on
first viewing I really didn't like, but on subsequent viewings have
come to love. Some of mine are The Fifth Element, Gladiator,
Magnolia
(perhaps my favorite movie of all time), 25th Hour, and believe it or
not, The Empire Strikes Back ( I must have been too young at the
time). I thought you might share a few of yours.
Great
job with your web site and your writing style is enjoyable.
Michael, thanks for the comments! There are a handful of films where
I’ve changed my initial reaction, though more often than not
it’s the
other way around -- where a second viewing made me question what I saw
in the film to begin with. Case in point is MINORITY REPORT. I was
excited by some of the individual set pieces when I saw the film the
first time, but after I watched the DVD, I was more agitated by the
"gritty" elements Spielberg brought to the movie...the kind he tried so
desperately to bring to A.I. and backfired. All of that left a bad
taste in the mouth and really soured the movie for me on its second
go-around. Hopefully WAR OF THE WORLDS will be a return to form!
NEXT TIME: COACH CARTER, Anchor Bay and More! Don't
forget
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Boards, direct
any emails to the
link
above and
we'll catch you
then. Cheers!
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