Finally, the real Batman is here – News

Following Tim Burton’s gothic Batman makeover in 1989 and Christopher Nolan’s innovative bat fest in 2008, Matt Reeves is releasing the crossover classic.



By Vinay Kamat

Published: Sat 12 Mar 2022, 10:47 PM

Last update: Sat 12 Mar 2022, 11:23 PM

It’s the Joker, silly.

While that’s not entirely true, Batman’s story has been flexible enough to accommodate, amplify, and exaggerate evil. Directors were measured on their ability to exacerbate haters. In order to define the ultimate bat movie, let’s look at three greats who have reinterpreted the nocturnal comic: Tim Burton, Christopher Nolan and Matt Reeves. They recreated the vigilante through artistic play (Burton), innovative storyline (Nolan), and clinical action (Reeves). Although Nolan also excels in other departments – cinematography and editing – post-modern Batman cannot be profiled without the contribution of the other two.

Their movies— Batman (Burtons), The black Knight (Nolan) and The Batman (Reeves) – enriching cinema with black comedy or black beats, which is a layered cake filled with urban existentialism, seesaw values, suspense, twists and turns, frenzied murder and revenge. In Burton’s hands, the genre receives a new layer of surrealism; Nolan elevates the story by unraveling the morality; Reeves prefers to stick to the macabre basics. Lighting, silhouettes, and shadows enhance the black bat aesthetic.

Burton’s Gothic Gotham

In 1989, just after giving a gothic touch to beetle juice (the story of a forest suburb cradled by the strange), Burton has the chance to reinvent Batman. This turns out to be an era as he forgets the cape and starts playing with the capers. To achieve this, he plays the overwhelming and intense Jack Nicholson as the Joker and recreates a universe of horror and madness around him. Batman, the brooding Michael Keaton, is subsumed into this universe. Keaton simply crowns the king of villains, elevating kidlit to adult horror. He transforms Gotham into a grotesque city, aided by art director Anton Furst. Danny Elfman’s music deepens the dread. All conspire to push the crusader out of the batlight and give the Joker his due.

Perhaps the scene that epitomizes Burton’s morbid fairy tale is Joker’s vandalism of the Gotham Museum of Art accompanied by Prince’s music. This scene not only establishes the Joker’s complete control of the storyline, but it’s also a surreal break in Burton’s gothic landscape. Burton’s black bat aesthetic can be seen in his latest film, Edward Scissorhands (1990), a strange fantasy that feeds on adolescent angst. Vile Gotham (Batman’s town) can handle disruption, idyllic Lutz (a Florida suburb in Edward Scissorhands) does not support the slightest disturbance. Both locations have distinct personalities, as do the characters who inhabit them. Burton colors them like an expressionist painter.

Perhaps Burton’s greatest contribution is his amplification of evil (Joker/Penguin) to gothic heights, a fear that becomes a staple of everyday life, creating a protagonist who wins because goodness must simply triumph. The most famous line from the cult film The usual suspects goes like this: “The greatest trick the devil ever did was to convince the world he didn’t exist.” The biggest trick Burton plays with the public is convincing them that Batman rules when he doesn’t.

Nolan’s know-how

It’s hard to name Nolan’s best film. There are many contenders for the stop slot: Principle, Dunkirk, Memento, Creation, Insomnia, The black Knight (2008) … The list is long and varied. Corn The black Knight is the definitive Nolan for several reasons. It is a dark revelation of morality.

Who exactly is Batman? How many shades and shadows do good and evil have? Are they one and the same? Nolan’s story has no single protagonist; he lets the audience decide that. By deconstructing and unmasking Batman, Nolan explores the world of the powerful and the powerless. This is not the story of a crusader but a story of imperfect characters.

Nolan’s treatment of Batman may have origins in his previous film, Insomnia (2002), the story of a detective (Al Pacino) and a serial killer (Robin Williams) takes place in Alaska. Dark and brooding, the storyline follows the protagonist’s moral journey as he battles his conscience. A similar battle plays out on the rooftops and in the alleys of Gotham as Bruce Wayne analyzes his complicated relationship with Batman. As Insomnia‘s detective, Wayne is the soul of the film. And like Insomniaof the serial killer, it is Joker who tantalizes our gray cells.

Not only is Nolan the finest craftsman in cinema, but he also frees the characters from their comic book models to expose their frailties.

This is action at its best. There’s no better opening scene in the Batman universe than The black Knight‘s. The heist sequence sets the tone and pace of the film, drawing comparisons to Michael Mann’s cult crime thriller Heat.

It also features the Joker (Heath Ledger), whose Oscar-winning performance matches Nicholson’s Joker in Batman. Like Burton, Nolan ends up creating larger-than-life evil.

Reeves’ real Batman

Matt Reeves’ Recent Box Office Success The Batman doesn’t have the innovation of Nolan or the artistry of Burton, but creates a tight thriller devoid of Batman paraphernalia. Yes, Batman (Robert Pattinson) has a menacing car, but he has no Q (his tech man) to turn to. There is no Maggie (Wayne’s childhood friend, in The black Knight) That is. He is perhaps the most austere Batman compared to the creations of Burton and Nolan.

The thriller, a linear film noir, is reminiscent of David Fincher’s Zodiac and Se7fr and guides you through every nook and cranny of the criminal investigation process. Batman wears three action hats; those of a detective, an avenger and a hero.

Pattinson’s Batman isn’t as presidential as Michael Keaton’s personification or as flamboyant as Christian Bale’s character. It’s classic, understated and simply Batmanesque. There is no extra muscle, gray cell or idiosyncrasy.

Even as cinematographer Greig Fraser (he zero dark thirty and Dunes fame) captures the story of good versus evil in its own noir style, the lighting is dim, often grimy, but with the right balance to reveal dark details. With Mattson Tomlin (screenwriter), Reeves first emphasizes good versus evil, then blurs it. Tomlin’s story is perhaps the simplest take on a morality tale for adults where the good isn’t as good as it is made out to be. Armed with a compelling story, standard Batman, Zodiac-like Riddler, and Ronin-like pace, Reeves produces an ace. But it’s Pattinson’s show all the way, as he effortlessly demonstrates that Batman can also be searching, curious, and no-frills. At the end of the film, handsome Pattinson becomes the right role model for chic noir.

As Reeves moves in for his next installment, it may be worth asking: what will The Batman 2 look like? Will it be as dark as Burton’s Return of Batmandeep gray like Nolan’s The black Knight or elegantly dark like The Batman?

In a world dominated by Jokers, maybe it’s time to get to know Batman. In an elegantly dark way.

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