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Batman Begins starts with a cloud of bats flying across the screen, momentarily forming a vague bat symbol in the sky. The title doesn't even show up on screen until the end of the film. It's an unusual choice, but seems entirely fitting: only after the thrilling previous two hours has Batman really begun.
In the first half director Christopher Nolan cleverly plays with the chronology of events, just as he has in all of his films other than Insomnia. The technique both helps sustain interest before Batman first makes an appearance and enhances character, filling in Bruce Wayne's backstory at precisely timed points. It helps make the origin story one of the most, if not the most compelling superhero origin tale ever told on film. Bruce Wayne's journey from orphaned rich kid to trainee ninja in the Himalayas is far more engrossing than that brief synopsis makes it sound. The hour of foundation-laying presented here is not just an annoying diversion to slog through like in some superhero films, as its events are extremely relevant to the later plot developments and make Bruce's metamorphosis into a mysterious crime-fighter with apparent supernatural powers plausible and logical. Never before has a Batman film delved into the motivations of the man behind the mask; Begins is driven by them.
For his revival of one of DC Comics' signature characters (in prestige probably second only to Superman, and even that is debatable), Nolan assembled a cast that puts all other comic book movies in the shade. Not only does he have the brilliant and inexplicably not-yet-Oscar-nominated Christian Bale in the lead, he surrounds his protagonist with such esteemed names as Michael Caine as Alfred the butler, Liam Neeson as mentor Ducard, Morgan Freeman as Wayne Industries' tech-expert and Gary Oldman as helpful honest cop Sergeant Gordon. Caine is particularly good, adding welcome and appropriate moments of humour. Yet more noteworthy performances are given by Tom Wilkinson, playing mob boss Carmine Falcone with enjoyable sleaziness, and especially the up and coming Cillian Murphy, who makes Dr. Jonathan Crane/Scarecrow extremely creepy despite his limited time on screen (both also sport flawless accents). Unlike most previous and subsequent superhero adventures a love story is not front and centre, which probably lessened the film's wider inter-demographic appeal but allowed for a more intricate and gripping narrative. There is a romantic subplot, but the fact that the rather generic Katie Holmes is being replaced for the follow-up speaks volumes about her impact.
Although based in the fictional Gotham City, contrasting with Marvel Comics' real-world locations, Nolan creates a living, breathing metropolis (no pun intended) with even a few stylistic hints of Blade Runner. The way Batman uses his environment in the film is superb, disappearing into shadows and swooping down out of nowhere. The best example of this is the sequence in which Batman first reveals himself, as Nolan treats him as a monster who pounces upon terrified prey (the film's working title, Intimidation, is highly apt). The unusual twist, of course, is that in this case the monster is the good guy. On first viewing, when Bale finally utters the immortal words, "I'm Batman", you get the urge to cheer. Remarkably the film is even better on repeat viewings.
Ditching the familiar Danny Elfman theme, the intriguing pairing of composers Hans Zimmer and James Newton Howard employ a simple but effective two-note motif to define Batman. Unlike many superhero scores, Zimmer's and Howard's collaboration does not call attention to itself, instead mostly remaining in the background. However, the propulsive rhythm of the score adds a considerable sense of impetus and is hugely important in helping the film establish its foreboding and enthralling atmosphere.
One criticism of the film was that it doesn't have a proper villain. Well, there is certainly not as much time devoted to the villains as in Burton's Batman and its overstuffed Bat-sequels but the villains' presence is felt throughout. Dark and realistic are the names of the game here, and the villainous scheme - which is only fully revealed in the third act - makes for an exciting finale, despite its reliance on a far-fetched plot device. The film manages to conclude in a thoroughly satisfying manner with some inspired ending revelations while simultaneously setting up the sequel perfectly.
The extras
Unfortunately the DVD is devoid of any commentaries, with the only "added value" on Disc 1 being a trailer. The second disc doesn't really do the film justice either; there are several interesting featurettes but none are longer than 15 minutes. They clock in altogether at over 100 minutes, though, so there is a satisfying amount covered. The featurettes include ones focusing on Bale's preparation for the role, the design of Gotham and the new (and initially controversial) Batmobile, here dubbed the Tumbler. It was particularly revealing to find that much of what we see of the city in the film was actually just shot on a huge set that filled the inside of an old aircraft hangar near London. Lastly, a bunch of so-called "confidential files" provide information about the characters and gadgets. It's all presented with a unique, if gimmicky, menu in the form of an animated comic book. You search round the panels with the remote to find the featurettes (or just flick to the last page to see a list). It sounds annoying but it's actually not as it's really well designed.
Due to the slightly underwhelming nature of the features on offer, I wouldn't be surprised to see some sort of ultimate edition released to coincide with The Dark Knight next summer.
The summary
I find it impossible to choose my favourite film, but this I will happily concede: Batman Begins is the best superhero film ever made.
