“Deconstructing Batman” is the imaginary 101 course all nerds excitedly register for. He’s an easy target. A lunatic billionaire zipping around Gotham city rooftops in a mammal costume (yes, bats are mammals) trying to end crime by punching purse snatchers in the face. The problem with this method is you can’t “end” crime any more than you can end prejudice or injustice. They will persist as long as humans do. But each of us rightly feels an obligation to snuff these things out where and when we can. Batman has taken this notion to its unnatural conclusion singularly due to trauma none of us would wish on our worst enemy. The “character uses trauma as call to action” trope isn’t unique to Batman. With great wealth comes great responsibility. It is no great secret that Christopher Nolan’s Batman Begins tries and succeeds in creating a plausible case for Batman existing in our own wacky and flawed world. Say what you want about Christian Bale and his oft-mocked stylistic choice for Bats’ voice but we believe him in the suit and his Bruce Wayne is distinct enough to convey the important narrative beat that is the duality of Billionaire Playboy/Caped Crusader. Real Quick: Batman Begins is underrated. You often hear how the film returned the character to legitimacy after the movie we shall not speak of. Begins should also be respected and appreciated as one of the earlier examples of a comic book movie standing on its own as a proper film, genre be damned.
The Quick Critic
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