Movie of the summer?

So today heralds my return to blogging after the Olympics and everything. Hoping to relaunch it and give it a new look too, when I can, if summer slows down enough.

For now I'll just point you to something I wrote on The Dark Kinght Rises and I'm up for hearing your comments on the movie too, and the themes in it.

If you go to the link below you'll find my thoughts in detail on the movie:
http://www.careybaptistchurch.org.uk/2012/01/30/%E2%80%9Cthe-dark-knight-rises%E2%80%9D-questions-for-us-from-the-movie/

But in brief, I liked:
+How the vision of the movie is to tell a story in a mostly realistic like the previous two movies and is not just dressed-up superheroes posing a lot
+The great cast and some surprising and satisfying character arcs, such as that of John Blake, the policeman.
+The way the menace of Bane picks up on some of the recent mood in our cities: "Everything's corrupt anyway, so why can't I get what I want".
+The sense of craziness when Bane gets his way, and the way they adapted the comic characters into a firghtening reality.
+The sense of redemption and hope that as the story ends there is something better for some of the characters to come, like in "Inception". 
Any quibbles with the script are very minor, in my opinion. Let me know if you agree in the comments below!

Batman: The Long Halloween - the best and most unsettling whodunit in comics?

What makes a good whodunit? At the least, strong characters, clues and a clever twist. But also: interesting psychology, defective personalities or madness and multiple points of view, an ominous danger at large, and something that challenges justice itself, provoking us to speculate on wider societal issues or ills or the very human heart itself.

On my recent holiday I finally got to read Batman: The Long Halloween, which provides all of these. Best of all, it has a final chapter that keeps its secrets until the very last pages, as well as managing to subvert not only Bruce Wayne's mindset and mission as the Batman, but also perhaps the way we imagine our lives to be: secure and incorruptible and wholesome, while we set up structures and people as idols we will follow at all costs.

This graphic novel, originally published as a 13-issue comic series in 1996-7, stands by itself, while using some of the characters from Frank Miller's amazing character-piece Batman: Year One, notably the mafia family of the Falcones (with shades of The Godfather). The story is set across a year with each chapter themed after a different holiday, like Valentines Day and Fathers Day and so on. At this point Bruce Wayne is growing into the Batman role and working more closely with the "dream team" Jim Gordon and Harvey Dent, who is the "Apollo" District Attorney and very much the last public light against corruption for Gotham (you remember him from The Dark Knight?). Imagine the public and private pressure setting in as Harvey must find a way to bring down the criminal families, while the Batman tries to solve an increasingly unstoppable series of murders while being led in all the wrong directions but some of his usual enemies: The Scarecrow, the Joker, Poison Ivy.

All of which ends up, I think, brilliantly, making the Batman into a valiant failure. How could he have let the murders keep happening, and why didn't he do more, sooner? Perhaps we should see it the other way: how could one man, limited by his own point of view and frustrated and distracted by his enemies, ever hope to redeem a city anyway? What does he have to lean on after all? The help of a few friends in Gotham? The hope of a better future? His brain, or being able to infiltrate and be there to stop crime at the right time? I think the way the ending comes about and the last words "I believe in Harvey Dent" mirror his own words "I believe in Gotham city" at the start show a world in crisis and a world where individuals act out of their own belief systems, at odds with each other. What a place of despair Gotham would really be - it's a bit like the repeated refrain of the book of Judges "everyone did as they saw fit" and great wickedness reigns because of it (17:6, 19:1, 21:25).

There's more going on here beneath the chaotic criminal goings-on and the beautifully dream-like noir-style of art (by Tim Sale, who drew art for and designed the look of TV series Heroes). This art adds to the whole by detailing the characters' expressions so we can believe in the characters feeling what they are doing - from the desperation of the crime-lords to the toughness of Jim Gordon. They only want to see things through...

For another good Batman story which acts as a whodunit, try Face the Face which is set much later, after Batman has been away from Gotham for a year. He comes back with perhaps a bit more humanity (which was cool to see) as he re-teams with Robin and tries again to work with Harvey Dent to uncover a murderer, but can he trust Harvey?

The Dark Knight Rises - will it include a Lazarus pit?

If you haven't heard already, The Dark Knight Rises (the next Batman flick) is filming and all over the internet you can see a leaked photo of some green liquid on one of the sets. This isn't pointless slime - it's bright green so it can be picked up from footage easily and altered or animated somehow. So what?

It suggests a Lazarus pit* could be involved. If you don't know the comics the Lazarus pits of Ra's Al Ghul are able to sustain/strengthen life or even bring someone back from death. It also seems to bring on a form of madness, although this isn't totally consistent in the comics.

The fun of having this supernatural thing happening in Batman's adventures was knowing this just does not fit with his view of the world. He works all the angles and needs to know how all the mechanisms work. But what of souls? And if they come back into lifeless bodies, where did they go in the meantime - what science could he use to deduce this? He can investigate but not get to the bottom of it: in the end it is more that he has to accept it.**

Where could director Christopher Nolan and his increasingly impressive cast take this? Here are a few possibilities:
1) Surely this means that Ra's Al Ghul is returning - or possibly a successor like his daughter Talia, who was unseen in Batman Begins. The ninjas Bruce faced in his mansion were from a long line, and that line is bound to have continued somewhere. And Ra's could be resurrected through use of the pit, or perhaps Batman will stop him just in time?

2) It's not very likely, but Bruce and Gordon could try and resurrect Harvey Dent (aka Two-Face) in one of the pits to try to re-create the white knight who fell in The Dark Knight.
3) The new film is called The Dark Knight Rises - so could Batmen die and someone resurrect him in one of the pits? This would fit with the previous film's theme of the city of Gotham needing someone like the Dark Knight, and be a nice counterpoint to the start of the film which I imagine will be about the police and/or army hunting Batman for the murders everyone thinks he committed in The Dark Knight. Could be quite cool, and a related idea was used in the recent comic Batman and Robin issue 7 and 8: Blackest Knight, with the question being - is the Batman who emerges from the pit going to be the right one, and in his right mind? (Batman and Robin stars a new Batman, as Bruce Wayne apparently died in the comics recently***)

4) It could be a new evil using the pit endlessly to stay alive. The evil has surely got to be something that affects the whole city, like the Joker did, and a villain who seems to have power over death could inspire horror and even submission in the populace.

On a related note, the villian Bane is set to be in new movie I hear - and I hope this is done well. In the comics he is often used very poorly and has little or no character. He is just famous for a dark epic story from the early nineties where he broke Batman's back and totally defeated him.... wonder if this could be where the film goes? 

Either way I'm sure the writers will love to play with the idea of questioning whether it's possible to rise from death and live in a kind of mad power-mad immortality that many villains in comics seem to want to achieve. What messages might come through about what real living is, I wonder? Or about relinquishing power and serving a city of other people? Furthermore there was always something Satanic about the pits, which are in the belly of the earth and perpetuate the life of a centuries-old manipulater and murderer whose legacy is a cult of warriors who obey his every word. Perhaps the film will bring out the horror of this monstrous and unnatural battle for supremacy over the world from below.

With Marvel taking another step in the right direction with Thor and then Thor, Iron Man and Hulk joining the Avengers film next year****, Batman faces stiff competition in the superhero movie department. But I have confidence The Dark Knight Rises will prove to be more thought-provoking and mature than the others (much as I like them)!

*Presumably named after the biblical Lazarus, an ordinary man Jesus publically raised from death.
**Over the years Batman has been forced to accept there are some supernatural things in the universe, although even in Neil Gaiman's excellent recent story "Whatever happened to the caped crusader?" Batman states that he does not believe in a god, and the story still emphasises his own role in carving his own meaning in his physical existence - while portraying him as a kind of unstoppable force against evil in an eternal battle against evil (Yes, wierd huh?)
***I'm quite behind with Batman, as I have a pile of UK-produced Batman Legends comics to read, and the UK comics are way behind the US ones. The death of Batman is shown within Final Crisis, which you should read alongside the main Batman storyline right through from Batman and Son to the Black Casebook and Batman RIP.
****Directed by Joss Whedon, creator of Buffy, Firefly and Serenity and writer of the first four volumes of Astonishing X-men!

How Heat (1995) influenced The Dark Knight (2008)

With director Michael Mann’s new film Public Enemies in cinemas, and because of my interest in Batman, here’s a brief introduction to how the latest (and greatest) Batman film picks up on lots of elements from Heat, Mann’s adult crime drama.

You can see it even from the DVD back cover of Heat, where we see Al Pacino standing with shotgun ready, resembling a moment where Gary Oldman’s character Lieutenant Gordon heroically faces the Joker. Or try the opening sequence, a carefully orchestrated and clearly shot armed robbery of a delivery van* in broad daylight by a team wearing white hockey masks. The difference is that in The Dark Knight the Joker’s bank robbery (which opens the film) goes perfectly, with no loose ends (if you have seen it you know what I mean) – while the member of the gang in Heat who manages to escape the rest of the gang becomes an important seed of the group’s downfall.

Battling with hearts and minds

Moving towards some of the big themes of the films, both give an account of a struggle between two factions, with high stakes for each side – but ultimately, these are struggles based on principles. In Heat Robert De Niro plays professional criminal Neil McCauley, who goes after big “scores” with his crew, but who becomes conflicted. He insists that he will live a life without ties – where everything and everyone can be left behind in 30 seconds if the “heat” is on to them. Yet while this is the life he has built for himself, and accepted, he starts working towards another one, longing to leave behind all bank “jobs” and escape with Eady. He is finally spotted by Pacino’s Lt Hanna while trying to clear up loose ends, the betrayal of his own principle – in fact it is precisely the feelings of loyalty (and anger) that he imagined he could ignore which make him go back, and stop him cutting loose from the city at the crucial moment. His philosophy would have worked, but was apparently unliveable – he could not leave behind the relationships he started: it would be denying the worth he felt they really had – in a way, denying himself. This poses the interesting question to us: when the pressure is on, what or who really matters to us? What are we willing to make a stand for, even when it makes things messy and difficult to deal with?

Similarly Lt Hanna (McCauley’s nemesis) attempts to manage his own relationships in quite a brutal way, putting his job first (his wife confronts him with this idea that this hunt for prey is the “only thing you’re committed to. The rest is the mess you leave as you pass through”) – but the difference between the two is Hanna’s fierce, unwavering loyalty to his city and his police department, and to capturing the gang.

In The Dark Knight the ideological battle is more sinister. It seems that the Joker, fascinated with the appearance of the hero Batman, is trying to prove that people in general, and even those who consider themselves to be “in the right”, are not really good, and can be turned towards evil if their circumstances change, and they feel betrayed, or afraid, or come under some other kind of stress, such as suffering an unjust loss or trauma. Unnervingly he seems to face us with the question: “what will it take for us?” He seems to prove in the film that people are fragile and that chaos is easily achieved, as reinforced by his final words in the film, to Batman: “You see, madness, as you know, is like gravity – all it takes is a little push!”

However the Batman manages to restore order and bring an end to the ongoing terrorism, and it seems that (although he comes close) he does not “break”. He proves to the Joker that it is possible to continue resisting evil (even under great strain) without becoming twisted and evil, like the DA does – although for Batman to do this it comes at great personal cost. It is as if the line that the DA crosses in taking a life makes him irreparable, even irredeemable, whereas Batman can remain heroic because he never succumbs totally and kills.

Defending the city

Heat makes a lot of comparing the lives, quality of relationships and motivations of the LA cops with those of the criminals they are after. Again, heroism comes at a personal cost, which at times must be unbearable for Lt Hanna, whose wife loses patience with him and whose step-daughter suffers too from his absence.

In parts it seems the cops in Heat are trying to defend their city with as much self-sacrifice and obsession as Bruce Wayne shows in the recent Batman films. It’s an all-consuming quest for justice which requires ugly action, tough strategy, careful planning, sleepless days and long nights. In many ways you can understand Heat as a revenge tragedy. The police see it as “You kill our men, you disrespect the law – don’t expect us to hesitate in shooting back and taking you down”. Los Angeles has got to be safe, and dead cops have to be avenged.

As in the comics, Batman is also bound by a code and an absolute commitment to protecting his city. Director Christopher Nolan’s take on the character is that he acts out of a belief in the fact that there are good people in the city, which he can not let be swallowed up and bullied by the criminal element. This was a big theme in Batman Begins** (the first in this revamped series), where a young Bruce had to get to a position in which he could trump the “bullies” by creating his own intimidating presence, thereby using their own weapon against them. He is simultaneously purging the city from the clutches of corruption and ransoming the city for society to be able to function. This is why the Joker’s random destruction is so threatening, totally undermining order and the city’s infrastructure (eg the police, the mayor’s office, high society, the prison system, and memorably, the hospitals).

Bruce dedicates himself to cleaning up the city, carrying on the proud tradition of his parents (like a knight archetype who reveres and continues the work of past martyred saints – it is not too far-fetched to make this the equivalent of a holy cause for him); and in The Dark Knight, he enlists other “knights of the realm” to stand guard alongside him, deepening his partnership with Gordon and the police force, utilising big business, even the city hall.

While The Dark Knight seems to cover a lot of intellectual and mythological angles on this battle against corruption, Heat is a more personal tale, tugging at our emotions as we see the way circumstances, words and actions bring tension between families, and hurt partners. The gang gamble on making some big scores, to support their chosen lives, but the promises they make and break are significant beats of the story – and the horrific final shootout has reverberations on all those close to McCauley’s crew, and beyond. I salute the writers and directors for making such fascinating worlds to lose ourselves in, and whose strong characters create gripping ideological (and physical) struggles in each film.

(NB: Heat clocks in at 164 mins, so it feels like quite a long watch. If you like it, Al Pacino is also interesting to watch in crime drama Carlito’s Way (1993), a film which is slow-burning, leading to a thrilling 20-25 minutes finale section, as Carlito makes his run for freedom from his past gangster life, similar to De Niro’s final run in Heat. I won’t recommend the film wholeheartedly though due to gratuitous sex and nudity, just to let you know.)
~~~~~~~~~~~~~


*The Dark Knight also has an armoured delivery van which is attacked as the focus of one of the Joker’s crimes, and so the similarities continue! British director Christopher Nolan acknowledges that Heat influenced him, and it probably was the reason he went for the kind of freeway landscapes he did for the big chase scene, to show a similar kind of world: a heavily built-up, industrial city.

Other similarities between the two films: Incredibly strong casts, and both films have brilliant sound, building tension through it using some strikingly similar long drone sounds.

**In Batman Begins there is a scene which reminds us how utterly irrational and evil extremist terrorist groups can be. While razing Wayne Manor to the ground, villain Ra’s reveals his motivation – a plot to burn the city down, as was done in the days of ancient conquest – all in order to produce a “better” world afterwards. I love how the language sounds kind of earnest and rational, but when you think about what they are saying it is utterly evil and mad! This reminds us that all evil is ultimately irrational, coming out of a faulty, broken understanding of the world and ourselves, and we can’t ultimately explain it away, or excuse it: it just is wrong.

Comic reviews: Gothic monsters and fairy tales

I recently discovered Tales of the Multiverse: Batman -Vampire, a collection of DC stories attempting to mix the world of Gotham with the melodramatic lore of Dracula. The brutal way the characters are treated seems suitable in this context, and this new kind of challenge to Bruce Wayne’s operation of protecting the gothic Gotham city is welcome. No woman out late in the claustrophic streets is safe, even with the Batman around. And these vampires, powerful, sudden and hard to pursue amongst the streets and poorer levels of society, really leave gashes at the neck, and threaten to overthrow all Batman's work by turning everyone into un-dead creatures – it is a bloody read, but satisfying and exciting (if in a straightforward way), and I like how it really touches on Bruce's mission and how much he is willing to give up for the people of his city.

On the other hand, Fables is a different quality of comic book drama, from the acclaimed comics imprint Vertigo, made famous by Alan Moore's Watchmen (read about that here). It is a comic which seems to revel in not only telling stories, but building up a picture of the lives and richer-poorer relationships between the characters – which all adds up to mean that you actually care about what is going to happen to them. In fact this is a distinguishing feature of the series, along with the way each punchy episode is so tightly crafted: You care about the fate of Fabletown more than in most other fictional communities, probably as you’re never quite sure what threat is working it’s way against them next.

At the beginning the amiable King Cole and Snow White, woman of action, lead Fabletown, an area within twenty-first century New York where storybook characters live as refugees, hoping that the one who drove them out of their homelands does not come after them. And they need policing and defending, whether through the careful measures of shady-detective-type Bigby Wolf or through a more direct approach, in which every prince, pauper and talking animal avails themselves of the right to bear arms and defends their new homes (with all the practical difficulties of this).

Shocks and clever intrigues from one faction or another are always around the corner, and the Fables show their capacity for pride, greed, true love or the more predatory kind, anxiety, feeling the burden of war or responsibility, affectionate friendship, loyalty and betrayal and much more in the five volumes I have so far read of this brilliantly-plotted series. Do seek it out, and do start from the beginning. Writer Bill Willingham is clearly heading somewhere big to end this series, but it would be a shame to miss all the stunning surprises along the way.

Batman hots up

The caped detective/crime-fighter Batman has gained much attention recently for the break-through crime drama film, The Dark Knight, and so I want to take the chance to post on some of the exciting Bat-stories I have had the chance to read. So many of the industry's top writers have worked on the character over the decades that it has proved hard for new writers to stay true to the character and provide something new – but I think DC recently had a stroke of genius in putting Grant Morrison on the book (starting from the story “Batman and Son” which began in Batman #655).

Known both for strong characterisation and for his penchant for wacky and ambitious stories, Grant Morrison has now brought his unique brand of energetic and inventive adventure story writing to the Dark Knight in an incredibly fresh take on the character. Since he began his run he has been examining Batman's approach to crime and whether crime can be stopped: In one humorous interchange between Gordon and our hero, the Police Commissioner asks him why he was foolish enough to declare war on an enemy as big as crime itself. The reply? “I thought I could take him”.

In some action-packed and fast-paced stories, Batman has been confronted by his legacy in more ways than one. It has been revealed that he has a son through a former love, the deadly Talia Al Ghul, daughter of Ra's, who clearly wants to use the boy Damian against his father. The rebellious Damian on the other hand wastes no time in infuriating his father by using his ninja skills (learned from Talia's bodyguard) to surprise and seriously wound Robin. It's been great to see how this has started to pick away at the Batman/Robin relationship.

On top of the family matter it seems Batman has inspired other wannabe heroes to take up the mantle of Batman, many of whom are suddenly and sarcastically murdered by a new (don't quote me on that) mysterious villain – and I haven't yet mentioned the three nightmare Batmen Bruce Wayne has begun to see in his dreams and encounter in Gotham. Add to this the possibility that Batman is losing his mind altogether, and seeing the past merging with the present – and I just don't know what's going to happen next! One more thing: I don't want to say too much but in recent issues we also have discovered a conspiracy within the Gotham Police Department that corruption-fighter Gordon was not aware of. And just what is Damian's future connection to the devil, as seen in Batman #666?

These shocking storylines, which seem to be leading to something far bigger, have been accompanied by strong art by the likes of Andy Kubert and Tony Daniel, who manage to show Bruce as a vulnerable and fearful man and a strong powerful hero at once. Comic fans might want to note that following Morrison's run there is going to be a special Batman issue by writer Neil Gaiman and superstar artist Jim Lee!

Grant Morrison is also behind the recent short series All-Star Superman series, as well as DC's current and unusual Final Crisis storyline, and he was a collaborator on “52” - more on that last one another time. However, next time I want to focus on his marvellously complex Seven Soldiers of Victory narrative.