THE BATMAN 

US, 2022, 175 minutes, Colour.

Robert Pattinson, Zoe Kravitz, Colin Farrell, Jeffrey Wright, Paul Dano, Barry Keoghan, Peter Sarsgaard, John Turturro, Andy Serkis, Rupert Penry Jones, Jaymi Lawson.

Directed by Matt Reeves.

Quite an achievement. Quite a significant cinematic achievement.

Bob Kane’s original comic strip, Batman, has had a long life on television and in the movies, from the fun and excitement of the 1960s, to Tim Burton’s vision with Michael Keaton, to lighter touches with Val Kilmer and George Clooney, Ben Affleck and the Justice League. Now we have British actor, Robert Pattinson, the most serious Batman of them all. (In fact, this version might appeal strongly to Christopher Nolan and his Christian Bale series but not so much to Zack Snyder with Ben Affleck seeming like a benevolent uncle compared with Robert Pattinson!)

This is a very dark version, not only in characters and themes, lawlessness in Gotham city, political corruption, Gotham’s equivalent of the mob, money, graft and assassinations, but, in its two hour 55 minute running time, practically every sequence is at night, in the dark. There is a daylight sequence at a funeral commemoration, a relief to see some daylight, but it is soon overwhelmed in disaster, chaos, and a huge chase throughout the city (with compliments to the skills of the editor to make the chase so adrenaline-exciting, putting together brief shots with accumulated dramatic effect like the chases in the Mad Max films). There is also a brief dawn sequence at the top of a high building where Batman encounters the mysterious character, Selina (Zoe Kravitz). Otherwise, ever-dark.

The visuals of this Gotham more than ever resemble those of New York City. But, there is a focus on churches, Gothic architecture, even within Bruce Wayne’s hermitage home. And, the film opens with a version of Schubert Ave Maria, recurring throughout the film as a kind of motif to alert the audience to potential tragedy, even sung at the end by the mysteriously villainous, The Riddler (generally seen masked but a virtuoso performance by Paul Dano at the end).

The film opens with the assassination of the Mayor, the opening up of a new campaign, a young African-American female contender. Further killings, the introduction to a mob boss in his nightclub, The Penguin (this reviewer was jawdropping at the final credits to discover that he is played by Colin Farrell – disguised to look rather like Al Pacino’s character in Dick Tracy). Then there is the mob boss, smooth-talking and arrogant, dominating the city and its past, an effective John Turturro.

And, what about The Batman himself? When the sign goes up in the sky, it is his chance to rendezvous with police Commissioner Gordon (Jeffrey Wright efficient in the role). The Batman is big, brawny, full of vigour and, when he goes into action, initially against a group of louts mugging an Asian American, he is a vigorous and violent fighter. And we see this throughout the film – reluctant to kill, ready to maim, a masked vigilante. And denounced by many as such.

We do see him at home, with Andy Serkis this time as Alfred.

The development of the plot, as so often with Batman films, takes us back to Bruce Wayne’s parents, their role in Gotham, politics, finance, philanthropy – but this time with some sinister twists. And they reinforce the basic stands of Bruce Wayne and his disguise, initial fears, violence and vindictiveness, relentlessness. We might say that Robert Pattinson’s version of Bruce Wayne (and that of director and co-writer, Matt Reeves) is one-dimensional as described. However, with his interactions and the encounters with Selina, there is a further reticent emotional response – perhaps he is a half dimension character.

The film is strikingly photographed, many strong close-ups dominating the action, yet quite an amount of action and effects.

The long running time passes quite effectively, the action intriguing, as is the mystery of who was behind the corruption and the identity of The Riddler, sinister atmosphere making the film something of a parable about contemporary cities, government, corruption and the victimisation of ordinary people.

1. The long tradition of Batman, the comic strips, graphic novels, animation, comic interpretations, serious? The hero but not a superhero? This film is a Batman for the 21^st-century?
2. The city of Gotham, dark, action at night, a few sequences in the light, the funeral sequence moving into the car Chase, Selina and Batman in the twilight?
3. Gotham, its look, the cityscapes, like New York City, the public buildings, the clubs, interiors, the world of the criminals, the world of Justice, the Commissioner? The Wayne house, interiors, the Batmobile? The Gothic architecture of the city and within the Wayne mansion? The musical score?
4. Audiences familiar with the basic Batman story, Batman’s parents, his father and his roles, governments, philanthropy, the deaths of his parents? Bruce, growing up, his inheritance, the house? Alfred as his servant, advice? Alfred making mistake, reprimanded, remedying the situation? Commissioner Gordon, law enforcement in Gotham? The sign in the sky, for action, Bruce Wayne and his vigilante action, his Batman costume? Loan, serious, frequently under the mask, unrecognisable? His fellows, the Catwoman and the change in the storyline? The Penguin as a gangster? And the intervention of the Riddler?
5. The political situation Gotham city, the mayor, his family, the young son, his murder? The interview with his co-politician, his killing? The campaigns against corruption? The new candidate, African-American, female? The other politicians, the threats?
6. The Riddler, the warnings, the messages, his not being seen, the notes, the riddles, his knowledge of what was happening, the deaths? The search for the Riddler, the revelation? In himself, age, experience, obsession and motivations, his orphan experience, antagonism towards the Wayne family? The link with calm mind and the criminals? Arrested, in jail, searching his room? The ultimate confrontation? A creature of pathos? The criminals, the clubs, the connection with the politicians, the mayor and his link with the girl? Her fears? The visit to the bar, Selina, the revelation about her relationship with calm mind, her wanting revenge? The Penguin, his henchmen, his manner, the club? The buildup to the confrontation, the car chase? Gordon, the challenge?
7. Come on, the criminal boss, his role, the money, corruption, control in the past, defiance, ordering the killings? Selina? The ultimate confrontation?
8. Batman and Selina, sharing the stories, the revenge? The buildup to the election, the candidate, the pledge to the people? The Riddler, the sabotage, water, the flirting, disaster, the attack on the candidate?
9. The resolution, open-ended?