The Batman and the Changing Identity of the “Superhero” Film
Warner Bros
Unless you’ve been living under a rock these past few months you’re surely overfamiliar with the existence of a new Batman film. To say it has been overly distributed of late would be something of an understatement. Anyone blessed with the modern Western expectation of being able to browse the internet or switch on a television will have more than likely found its presence across interviews, trailers, and commercials to be a tad insistent, even to the more headstrong moviegoer. But such is Hollywood, and such is the reality of modern marketing.
This new adaptation starring Robert Pattinson is the brainchild of New York-born filmmaker Matt Reeves, whose most recent work with The Planet of the Apes series showcased his ability to breathe new life into a tired franchise. Of course, Batman is of a very different ilk and much broader appreciation, despite the best efforts of Zack Snyder to drive the beloved character into the ground. On the face of it, then, the time seemed rife to attempt a reboot of DC’s flagship commodity. I shelved my admiration for Christopher Nolan’s The Dark Knight Trilogy in order to view this new film with a fresh, unbiased perspective.
While I wasn’t overly enamoured with The Batman, I do hold esteem for Reeves’ attempt to diversify as the caped crusader and establish a unique perspective on the franchise. I valued Pattinson’s Batman. He’s flawed, vulnerable, rough around the edges, and unsure of his place in Gotham. Ultimately, he’s a distance from the assured gravitas we typically associate with Batman, and this portrayal is mirrored in the narrative and stylistic elements of the overall picture.
This is a dark and atmospheric film that initially unfolds like a gothic horror, playing with shadows and reinforcing the daunting presence of Batman. The use of Something in the Way by Nirvana establishes an almost grunge-esque tone, reflected in Pattinson’s appearance and demeanour. His Batman has limited dialogue in the narrative and very guarded emotions which, while not uncommon for the character, is reinforced to create a deliberate characteristic.
In truth, The Batman has much in common with films like David Fincher’s Se7en and Zodiac. At its heart, it’s a noir-style detective film with a darkly spun narrative. Paul Dano’s eery rendition of The Riddler bears striking similarities to both John Doe of Se7en and the Zodiac Killer.
All in all, this raises intrigue as to the identity of the modern “superhero” film. Those familiar with the Arkham game series, as well as the original comics, will point out that Batman was always known as “the world’s greatest detective.” But this is more than a simple throwback or redirection, “superhero” films are now so ingrained into our culture that they’re no longer tied to the conventions of the genre.
We saw this most recently with The Joker and even as far back as Watchmen, which conceptually deconstructed the superhero. The former, of course, is more anti-hero than superhero but exists fundamentally in the same universe as The Batman. Todd Phillips’ brilliant albeit controversial picture is a dark and dramatic commentary on classism and social inequality in America. It has a great deal to say about the mental fragility of its lead character and of America itself. As with The Batman, Gotham is as much an influential narrative component as it is a setting. Likewise, there is a lack of elaborate action sequences, uncommon within the world of Batman.
Ultimately, the ever-imposing presence of Marvel Studios will likely stand somewhat opposed to this consensus. Their respective films typically offer a more tried and tested formula that tends to lack any real sense of innovation. But while they have certainly laid the foundations for success, DC has begun to reexamine that significance. Likewise, the promise of a new Batman franchise suggests it’s here to stay.
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