The Batman and the Changing Identity of the “Superhero” Film
Warner Bros
Unless you have found yourself living under a rock these past few months, you have surely now 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 with the modern expectation to be able to browse the internet will have more than likely come across interviews, trailers or like-minded commercials. Its presence, even at the best of times, has been a tad insistent, even to the more headstrong moviegoer. But, such is Hollywood, and such is the reality of modern culture.
This new version, starring Robert Pattinson as the caped crusader, is the brainchild of New York-born filmmaker Matt Reeves, whose most recent work with the Planet of the Apes trilogy showcased his ability to breathe new life into a tired franchise. Of course, Batman is of a very different ilk and appreciation, despite the best efforts of Zack Schnyder 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 Christophers Nolan’s ‘The Dark Knight Trilogy’ in order to view this new film with a fresh and unbiased perspective.
While I wasn’t overly enamoured with ‘The Batman’, I do hold esteem for Reeves’ attempt to diversify and establish a unique perspective on the franchise. I valued Pattinson’s Batman. He’s flawed, vulnerable and rough around the edges. He’s ultimately yet unsure of his place in Gotham; he’s a distance from the assured gravitas we 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 plays out like some 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 style that is very apparent in Pattinson’s appearance and demeanour. His Batman has limited dialogue across the course of 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 deconstructed superheroes as a concept. The former, of course, is more anti than superhero but exists fundamentally in the same universe as Batman. Todd Phillips’ brilliant albeit controversial picture is a dark and dramatic commentary on classism and social inequality in America. It has a lot to say on the mental fragility of its lead character and of America itself. As with 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 stand opposed to this consensus. Their respective films almost always offer a 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.