Matt Reeve’s swanky old-fashioned blockbuster The Batman is perhaps the darkest film in the series.
Carl Barks, the genius behind Donald Duck, spoke of the real value he wanted to give children for the 10-cent booklet. In order not to be stingy, he drew as many gags and details as possible into his pictures. If “The Batman” were a comic book, you would probably spend your 10 cents on the rich printer’s ink.
Even Christopher Nolan’s “Dark Knight” trilogy was dark, but in Matt Reeves’ “The Batman” at best the Batman sign in the night sky provides a little brightness. The genre term “film noir” to read in the first US reviews is still an understatement.
“Two years of night have turned me into a nocturnal animal,” whispers a voice to the first city panoramas of Gotham City, which this time is particularly uncomfortable. Batman’s confession would probably also be signed by his opponent, the serial killer The Riddler. “People think I’m hiding in the shadows. I am the shadows myself.” The most original thing about this scene, however, is the music by Michael Giacchino. The main motif consists of only two notes, which, struck on heavy bells, are laid over the bass violins and the dark brass of the orchestra. During the following three hours, the studio phonographers hardly allow themselves a break. Opera fans love Batman, who always looks a bit like the stone guest from “Don Giovanni”, but there wasn’t that much musical pathos even in Tim Burton’s “Batman Returns”.
The age-old story about corrupt politicians and the use of the bat-hatted millionaire’s son Bruce Wayne is told this time as a classic serial killer film. In the style of David Fincher’s “Se7en”, a know-it-all nerd is up to mischief. The fact that his victims, starting with the incumbent mayor, all have dirt on them, understandably quickly stirs up fear of death among the city’s lively dignitaries.
Pulling the strings in the background are mafia boss Carmine Falcone, embodied in creepy chatter by a hoarse John Turturro, and the “Penguin”: none other than Colin Farrell, who is hidden behind make-up beyond recognition, plays him. One waits in vain for a flashback that explains which lawn mower messed up his face like this. The horrible scene would undoubtedly fit into the film.
Now, impressed by the supporting cast, we almost forgot the stars: Robert Pattinson plays the weary hero in a dull but muscular restlessness. Only once does he allow himself a smile, although that could soften a stone. Then the mysterious nightclub waitress, cat collector and rock climber Selina Kyle approached him within a kiss. This event is so rare and beguiling that the distributor chose it as the central advertising motif.
The film is filled with erotic tension as soon as this strangely withdrawn strongman meets his impulsive and agile counterpart. Even if almost none of this is fulfilled, it still makes the film crackle out of the ordinary. In any case, Zoë Kravitz makes herself so unforgettable in this role that she should already be booked for part two and three of the trilogy. Also, the implied love story ties the film to Burton’s magical sequel, in which Michelle Pfeiffer played her role.
But while the Riddler leaves victim after victim with pretty greeting cards to Batman, complete with riddles in nursery rhymes, the film is still treading water. Without the music he would be lost; like in classic Hollywood, it reinforces the game, makes some things appear more important than they are.
Because there is nothing really original about this “Batman” interpretation, since Burton’s and Nolan’s films were of a different caliber. Working off the conventions of the serial killer thriller relegates Batman to a guest star in a crime film. Only when he sees himself as a potential victim and his family history becomes an issue do both levels interlock. Paul Dano’s embodiment of the killer as a nerd is particularly disappointing in the otherwise excellently cast film. (Have the times become so stuffy that wearing Andy Warhol glasses that are a bit too big already looks weird?)
In the superhero genre, the “Batman” films are something of a luxury item for the older generation: It’s a bit slower paced and you even get what it’s about. It’s really a bit like in the opera, where you can look at the scenery in peace without missing a nuance of the plot. Here, for example, there is an exquisitely staged chase in the pouring rain with “Blade Runner” flair. Only it is not at all rousing in the use of the offered effects. And as far as the obvious borrowings from the film noir genre are concerned, the coolness and nonchalance usually associated with it is missing. The hero’s typical voice-over even escalates towards the finale in downright mocking self-interpretation.
And unlike the laconic role models, there’s no hint of humor – starting with a top comedy actor like Colin Farrell playing a completely unfunny role. On the other hand, you don’t get bored during the three hours, on the contrary: you enjoy watching all of this, you’re just a little amazed at how old-fashioned this film is staged, including the car rides. They sometimes look like they were shot with rear projection in the 1950s. But that’s whining on a high level.
As Catwoman says, “You sound like you’ve never been poor.” Indeed, we were poor. Nice that such lavish blockbuster cinema can be experienced again after the lockdowns.
The Batman. USA 2022. Regie: Matt Reeves. 176 Min.
