“I won’t bury another Wayne” – a goodbye to Nolan’s Batman trilogy

I will always be fascinated by the attempts that “nerdy” subject material will make in order to be perceived as art. Memorably, video game fans attempted to rake Roger Ebert over the coals when he claimed (rightfully) that video games will never be art. I never questioned the logic of either side, as interesting points were often presented, but I was more intrigued by why these fans were obsessed with having one of their favorite mediums be recognized as something more than mindless entertainment.

There have been untold of thoughtless news stories focusing on the ways in which comic books have grown up, with many recent ones focusing on the financial success of darker comic book films such as 2008’s “Watchmen” adaptation and Nolan’s epic Batman trilogy. That being said, I have the same view about this as I did about the aforementioned video game discussion. Did we ever really need these movies to justify comics? Did Nolan’s movies accomplish anything in the culture at large that actually needed to be done?

For me the answer will always be a definitive no. Don’t get me wrong, I vastly enjoyed all of Nolan’s films, particularly “Batman Begins” and “The Dark Knight Rises” but everyone seems to be focusing on how Nolan’s work somehow legitimized something that had been missing. I just don’t think that was the case. Nolan’s films did a great job giving people exactly what they didn’t realize they wanted: a darker, excessively mature comic book movie that made non-comics fans feel like they understood comic books.

Because I’m an extremely petty and narcissistic person, I was deeply upset when people started saying that they liked Batman after the release of “The Dark Knight.” They didn’t understand the intricacies of the conflict between the Joker and Batman like I did. They didn’t understand the complex moral and ethical chess match for the soul of Harvey Dent like I did. To me, if you didn’t understand what made the film work so well under the hood, you didn’t really have the right to enjoy it like I did.

Nolan succeeded by making the labyrinthine power structures of Gotham City into something that the layman could understand. He didn’t dumb anything down, rather he introduced easily digestible nuggets of world-building that enabled anyone to understand the motivations of all the characters that made “The Dark Knight” work. People didn’t leave loving the film for what it was. They left thinking they had seen a movie that let them feel like they had it all figured out. “The Dark Knight” let viewers feel like they had just passed a test they didn’t study for.

In hindsight, I’m glad that people ended up liking Batman from “The Dark Knight.” I still think it may be the least satisfying and necessary film in the trilogy but it accomplished a very necessary end. Nolan was able to make a superhero film that used neither the structure nor the formulas of other films and was able to do something unique. It was an admirable work and an innovative one and it paved the way for the ambition of “The Dark Knight Rises” (which I will not be reviewing as to avoid spoilers).

Nolan excelled at making a trilogy of films that made its nerdy viewers feel like researchers and neophytes feel like experts. All the while, he was able to craft a brooding series focused on fear that never was bogged down into misery or undo complications. Its an admirable effort, one DC needed to learn. That being said, I still have concerns for his next work “The Man of Steel” which appears as if it could be attempting the same self-serious tone that the Batman films effortlessly attained. Hopefully, Nolan will be able to help director Zach Snyder make something that dodges the problems their other films have had. And hopefully, not feature too many slow motion bone crunches.

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“I’m whatever Gotham needs me to be” – How Christopher Nolan made Frank Miller the least essential member of the Bat-canon

In my years of following Batman, the massive piles of issues, stacks of trades and meticulously calculated opinions on storylines, plot developments and the writers and artists that defined the character, I was sure of one thing.

Frank Miller was king.

I’ve written before that Miller has long been one of my idols in the comics industry. He wrote and drew violent, hard boiled and whip smart stories of brutal heroes who remained just slightly more ethical than the villains they took on. His twin masterpieces, “The Dark Knight Returns” and “Batman: Year One” virtually defined the Bronze Age as well as the brooding and troubled hero that Bruce Wayne would become.

Looking back, it is abundantly clear as to why I so deeply associated with Miller’s take on the character. I grew up with comics desperately wanting to be taken seriously. I wanted one of my favorite stories to be viewed as something adult and interesting and something that I could show off. When Image was marketing little but unmitigated id with guns and massive cocks, I wanted a Batman that was doing all that he could just to survive for another day.

That makes it all somewhat surprising that the man to tear down one of the most innovative storytellers in comics was a filmmaker who distilled nearly 30 years of comics history into a smart, dangerous and hopeful movie. Christopher Nolan’s high profile and well received take on Batman was able to show off an adult take on comic films with “Batman Begins” but he really showed off what he wanted to do in “The Dark Knight,” most likely the movie he will be best remembered for.

Initially, it seems as if Nolan’s take on the character owes much to Miller’s hyper-violent Batman but that’s strictly a cover-up. Nolan embraced the darkness of Gotham in order to make a compelling product, yes, but he ultimately was setting up something even more ambitious, a Batman that genuinely is interested in bringing light to Gotham. I think most people forget about the quietest moments of “The Dark Knight” in favor of loving Heath Ledger’s performance as the Joker but for me, Aaron Eckhart stole the show as Harvey Dent and his line, “the night is always darkest just before the dawn and the dawn is coming,” is the most telling moment of the film. For Nolan, chaos is temporary, Batman is forever.

I have my fair share of complaints about “The Dark Knight” but Nolan’s theory that darkness pushes people to justice rather than corruption pushing us to anarchy is a potent one. Whether it is the rejection of mutually assured destruction on the boats, the sainthood of Harvey Dent or Gordon’s sense of hopelessness as he destroys the bat signal, this is a film about people being pushed to the heights or heroism by the darkness they are forced to oppose.

Nolan made no secret of drawing extensively from Jeph Loeb’s “The Long Halloween” when he and David Goyer wrote the first two films of his trilogy and the evidence is clear, particularly in “The Dark Knight.” The partnership between Dent, Gordon and Batman, men and women powerlessly watching as an empire crumbles and the ethical ambiguity of fighting crime is all prominent in “The Dark Knight” and shows clearly the cost of fighting monsters. The end of Nolan’s masterpiece even parallels the ending of Loeb’s classic, with Batman and Gordon both wondering what the cost of fighting crime is when they’re forced to lose their brightest of heroes.

Through all of this, Nolan directly contradicts the world Miller created, prominently displayed in “The Dark Knight Returns.” For Miller, anarchy creates anarchy, spawning lawlessness and corruption in a never ending cycle of pain, misery and death. Nolan dares to be positive in the face of chaos. Where Miller’s Batman is forced to brutally murder his archnemesis in a fun house, Nolan’s leaves the Joker hanging. Miller’s Batman is defined by the never-ending battle against crime, Nolan’s knows that the a future is more important than the pain.

The words “I believe” loom over Loeb’s “The Long Halloween” and equally haunts Nolan’s “The Dark Knight.” Bruce Wayne believes in Gotham, Gilda Dent believes in Harvey Dent, Alberto Falcone believes in Holiday; these are hopeful men and women, even when they’re in the worst places possible. In comparison, the only word that looms over the works of Miller is “goddamn,” in sentences like “I’m the Goddamn Batman” and so many others.

As I prepare for the premier of “The Dark Knight Rises,” I’ve been going through many of the Batman classics and I’ve had to go back to many of Miller’s most well known works. Rereading “Year One,” “The Dark Knight Returns” and the fairly awful “All Star Batman and Robin,” I’ve been struck hard by how violent, ugly and pessimistic these stories are. In the last few years, great writers and artists such as Scott Snyder, Grant Morrison, Frank Quietly, Paul Dini and Jeph Loeb have given us a Batman with pathos, one that is sometimes required to make the hard choices but isn’t defined by them. I don’t want a Batman who has to be one with the night, Nolan and many others have helped to show that the best Batman may be the one that may be able to walk away from the darkness.

“Fuck you, exorcist!” – 4 comics that deserve better movies

For those who haven’t been reading comics for years, things used not to be so awesome whenever superheroes made the jump to the big screen. Sometimes, we got shit like this. People have been spoiled by blockbusters such as “The Avengers” and “The Dark Knight” but more importantly, those films have shown Hollywood that with the right mix of comics references, crowd pleasing actors, humor and heart, lots of properties could easily become crowd pleasers.

That being said, I adore failure and have made a habit of seeing every comic movie released in the past decade. There’s some good, some really bad and some huge misses in there but here, I’ve got a quick list of characters and books that could have made the transition much better and how they could have done it. Here are my picks, in no particular order.

1. The League of Extraordinary Gentlemen

What’s wrong with it: The whole movie took all the subtlety and originality from Alan Moore’s series and turned it into a whiz-bang action movie. It doesn’t even look like a comic, its just bad. Putting Sean Connery’s piss-pore Quartermain impression front and center instead of having Mina Harker lead the team was also a poor decision.

How do you fix it: Its not a action movie, its a mystery. Focus on Volume One, with Harker assembling the team to stop Moriarty’s plans for London. Occasionally have Hyde hulk out and fuck stuff up and have some hints about the Invisible Man’s corruption. I know we’re not going to be have the iconic rape scene from Volume Two (or that book’s considerably more interesting story) but it’d be a nice nod for the fans.

2. Superman

What’s wrong with it: I would have never guessed that Superman would be the hero that so many writers would have trouble with. When he’s not getting fucked by the studios, being destroyed by an overly heavy heavy handed Christian allegory  or getting saddled in one of the strangest buddy movies/rape sequences in cinematic history, The Man of Steel has never had a really solid movie (no, I don’t think the Richard Donner cut of “Superman 2” is that good. Its actually kind of silly).

How do you fix it: Modify the “Whatever Happened to the Man of Tomorrow” arc. Louis Lane recounts the story of the last time she saw Superman to a new reporter. Through the actions of Bizarro, a series of supervillains all descend on the Man of Steel, seperated from his network of contacts and left to battle alone, Superman has to beat through dimensions to face one of his most powerful and most underestimated enemies. As the story ends, the reporter learns that Superman is an auto-repair man who is now living covertly in Metropolis. This gives room for additional films that may draw Clark Kent back into action and pays service to one of the most well loved and well remembered Superman arcs.

3. Hellblazer

What’s wrong with it: Admittedly, I sort of really like the movie “Constantine,” based on Vertigo’s iconic “Hellblazer” books. It has tons of problems but the visual effects and style are great. That being said, London’s greatest exorcist deserved so much better. John Constantine, the maybe immortal sorcerer, deserved a better actor than Keanu Reeves, didn’t need the ridiculous Shia LaBeouf sidekick and a should have had a better plot than an apocalyptic arrival of Satan. The charm of “Hellblazer” was the way that Constantine, a man without a gun and way too much charm, smooth talked his way through the best heaven and hell had to offer. Instead, we got Reeves shoving a crucifix engraved shotgun into a guy’s mouth, shouting “I’m John Constantine, asshole.”

How do you fix it: It’d be so easy to make the unbelievably fucked up, super awesome Resurrection Crusade story. Constantine observes a rise in a militiant Christian cult in England, only to find out that they intend to impregnate a girl by an angel so that she can lead the fight against hell. Meanwhile, Constantine’s long time enemy Nergal is running his own demonic cult to fight the Christians. After trying to stop both groups, John ends up in the hospital and has to take a blood transfusion from his demonic worst enemy, which gives him one chance to ruin the plans of both Heaven and Hell. I don’t want to ruin the conclusion of one of Jamie Delano’s best stories but its a morally complex, exceedingly dark story that could reach a great conclusion even before the Swamp Thing side of the story starts.

4. Jonah Hex

What’s wrong with it: Pretty much everything.

How do you fix it: Hex is a killer and bounty hunter before anything else. Play it like “Batman the Animated Series” did. Combine the rough as sand dialogue of an aging Clint Eastwood, a touch of Indiana Jones style pulp and all bad guys doing bad things to badder guys. Make it as grizzly as “Sin City” but with all of the grit of a man who’s seen too much but can’t stop looking.