Batman Begins

In January 2003, Warner Bros. hired Memento director Christopher Nolan to direct an untitled Batman film,[42] and David S. Goyer signed on to write the script two months later.[43] Nolan stated his intention to reinvent the film franchise of Batman by "doing the origins story of the character, which is a story that's never been told before". Nolan said that humanity and realism would be the basis of the origin film, and that "the world of Batman is that of grounded reality. [It] will be a recognizable, contemporary reality against which an extraordinary heroic figure arises." Goyer said that the goal of the film was to get the audience to care for both Batman and Bruce Wayne.[44] Nolan felt the previous films were exercises in style rather than drama, and described his inspiration as being Richard Donner's 1978 film Superman, in its focus on depicting the character's growth.[7] Also similar to Superman, Nolan wanted an all-star supporting cast for Batman Begins to lend a more epic feel and credibility to the story.[22]

Goyer wanted to reboot the franchise; he and Nolan saw Batman as a romantic character, and Nolan envisioned a large, sweeping film like Lawrence of Arabia. Nolan did not have a problem with the studio's requirement that the film not be R-rated because he wanted to make the film that he wanted to see when he was 11 years old.[5] His personal "jumping off point" of inspiration was "The Man Who Falls", a short story by Denny O'Neil and Dick Giordano about Bruce's travels throughout the world. The early scene in Batman Begins of young Bruce Wayne falling into a well was adapted from "The Man Who Falls".[45] Batman: The Long Halloween, written by Jeph Loeb and drawn by Tim Sale, influenced Goyer in writing the screenplay, with the villain Carmine Falcone as one of many elements which were drawn from Halloween's "sober, serious approach".[45] The writers considered having Harvey Dent in the film, but replaced him with the new character Rachel Dawes when they realized they "couldn't do him justice".[46] The character was later portrayed by Aaron Eckhart in the 2008 sequel The Dark Knight. The sequel to Halloween, Batman: Dark Victory, also served as a minor influence.[47] Goyer used the vacancy of Bruce Wayne's multi-year absence presented in Batman: Year One to help set up some of the film's events in the transpiring years.[48] In addition, the film's Sergeant James Gordon was based on his comic book incarnation as seen in Year One. The writers of Batman Begins also used Frank Miller's Year One plot device, which was about a corrupt police force that led to Gordon and Gotham City's need for Batman.[45] Due to Batman's extensive rogues gallery over seventy years, Goyer and Nolan decided to use the Scarecrow and Ra's al Ghul as the film's villains, as both characters had not been featured in previous Batman films nor in Adam West's 1960s television series.[49]

A common idea in the comics is that Bruce saw a Zorro film with his parents before they were murdered. Nolan explained that by ignoring that idea – which he stated is not found in Batman's first appearances – it emphasized the importance of bats to Bruce and that becoming a superhero is a wholly original idea on his part. It is for this reason Nolan believes other DC characters do not exist in the universe of his film; otherwise, Wayne's reasons for taking up costumed vigilantism would have been very different.[50]

As with all his films, Nolan refused a second unit; he did this in order to keep his vision consistent.[20] Filming began in March 2004 in the Vatnajökull glacier in Iceland (standing in for Bhutan).[20] The crew built a village and the front doors to Ra's' temple,[51] as well as a road to access the remote area.[20] The weather was problematic, with 75 miles per hour (121 km/h) winds,[20] rain, and a lack of snow. A shot that cinematographer Wally Pfister had planned to take using a crane had to be completed with a handheld camera.[51]

Unlike Burton and Schumacher's Gotham City that did not exist in the real world, Nolan shot exteriors in London, New York, and Chicago as he wanted the city to seem recognizable.[5] In seeking inspiration from Superman and other blockbuster films of the late 1970s and early 1980s, Nolan based most of the production in England, specifically Shepperton Studios.[52] A Batcave set was built there and measured 250 feet (76 m) long, 120 feet (37 m) wide, and 40 feet (12 m) high. Production designer Nathan Crowley installed twelve pumps to create a waterfall with 12,000 imperial gallons (55,000 L; 14,000 US gal), and built rocks using molds of real caves.[53] An airship hangar at Cardington, Bedfordshire was rented by Warner Bros. during April 2004[54] and, converted into a 900 feet (270 m) sound stage, was where the slum-district of "the Narrows" and the feet of the monorails were filmed.[53]

Mentmore Towers was chosen from twenty different locations for Wayne Manor, as Nolan and Crowley liked its white floors, which gave the impression of the manor as a memorial to Wayne's parents.[55] The building chosen to represent Arkham Asylum was the National Institute for Medical Research building in Mill Hill, northwest London, England.[56] The St Pancras railway station and the Abbey Mills Pumping Stations were used for Arkham's interiors.[53] The Senate House of University College London was used for courtrooms.[53] Some scenes, including the Tumbler pursuit,[20] were filmed in Chicago at locations such as Lower Wacker Drive and 35 East Wacker.[57] Authorities agreed to raise Franklin Street Bridge for a scene where access to the Narrows is closed.[20]

Despite the film's darkness, Nolan wanted to make the film appeal to a wide age range. "Not the youngest kids obviously, I think what we've done is probably a bit intense for them but I certainly didn't want to exclude the sort of ten to 12-year olds, because as a kid I would have loved to have seen a movie like this." Because of this, nothing gory or bloody was filmed.[36]

The score for Batman Begins was composed by Hans Zimmer and James Newton Howard. Nolan originally invited Zimmer to compose the music, and Zimmer asked Nolan if he could invite Howard to compose as well, as they had always planned a collaboration.[58] The two composers collaborated on separate themes for the "split personality" of Bruce Wayne and his alter ego, Batman. Zimmer and Howard began composing in Los Angeles and moved to London where they stayed for twelve weeks to complete most of their writing.[59] Zimmer and Howard sought inspiration for shaping the score by visiting the Batman Begins sets.[60]

Zimmer wanted to avoid writing music that had been done in earlier Batman films, so the score became an amalgamation of orchestra and electronic music. The film's ninety-piece orchestra[58] was developed from members of various London orchestras, and Zimmer chose to use more than the normal number of cellos. Zimmer enlisted a boy soprano to help reflect the music in some of the film's scenes where tragic memories of Bruce Wayne's parents are involved. "He's singing a fairly pretty tune and then he gets stuck, it's like froze, arrested development," said Zimmer. He also attempted to add a human dimension to Batman, whose behavior would typically be seen as "psychotic", through the music. Both composers collaborated to create 2 hours and 20 minutes worth of music for the film,[60] with Zimmer composing the action sequences and Howard focusing on the dramatic scenes.[58]

Nolan used the 1982 science fiction film Blade Runner as a source of inspiration for Batman Begins. He screened Blade Runner to Pfister and two others to show the attitude and style that he wanted to draw from the film. Nolan described the film's world as "an interesting lesson on the technique of exploring and describing a credible universe that doesn't appear to have any boundaries", a lesson that he applied to the production of Batman Begins.[61]

Nolan worked with production designer Nathan Crowley to create the look of Gotham City. Crowley built a model of the city that filled Nolan's garage.[55] Crowley and Nolan designed it as a large, modern metropolitan area that would reflect the various periods of architecture that the city had gone through. Elements were drawn from New York City, Chicago, and Tokyo; the latter for its elevated freeways and monorails. The Narrows was based on the slummish nature of the (now demolished) walled city of Kowloon in Hong Kong.[62]

Crowley started the process of designing the Tumbler for the film by model bashing. Crowley used the nose cone of a P-38 Lightning model to serve as the chassis for the Tumbler's turbine engine. Six models of the Tumbler were built to 1:12 scale in the course of four months. Following the scale model creation, a crew of over 30 people, including Crowley and engineers Chris Culvert and Annie Smith, carved a full-size replica of the Tumbler out of a large block of Styrofoam in two months.[63]

The styrofoam model was used to create a steel "test frame", which had to stand up to several standards: have a speed of over 100 miles per hour (160 km/h), go from 0 to 60 miles per hour (97 km/h) in 5 seconds, possess a steering system to make sharp turns at city corners, and withstand a self-propelled launch of up to 30 feet (9.1 m). On the first jump test, the Tumbler's front end collapsed and had to be completely rebuilt. The basic configuration of the newly designed Tumbler included a 5.7-liter Chevy V8 engine, a truck axle for the rear axle, front tires by Hoosier (which are actually dirt racing tires used on the right rear of open wheel sprint cars), 4 rear 44/18.5-16.5 Interco Super Swamper TSL tires (44" tall, 18.5" wide, mounted on a 16.5" wheel) and the suspension system of Baja racing trucks. The design and development process took nine months and cost several million dollars.[63]

With the design process complete, four street-ready race cars were constructed, with each vehicle possessing 65 panels and costing $250,000 to build. Two of the four cars were specialized versions. One version was the flap version, which had hydraulics and flaps to detail the close-up shots where the vehicle propelled itself through the air. The other version was the jet version, in which an actual jet engine was mounted onto the vehicle, fueled by six propane tanks. The visibility inside the vehicle was poor, so monitors were connected to cameras on the vehicle body. The professional drivers for the Tumblers practiced driving the vehicles for six months before they drove on the streets of Chicago for the film's scenes.[63]

The interior of the Tumbler was an immobile studio set and not actually the interior of a street-capable Tumbler. The cockpit was oversized to fit cameras for scenes filmed in the Tumbler interior. In addition, another version of the Tumbler was a miniature model that was 1:6 scale of the actual Tumbler. This miniature model had an electric motor and was used to show the Tumbler flying across ravines and between buildings. However, the actual Tumbler was used for the waterfall sequence.[63]

The Batsuit, as worn by Christian Bale

The filmmakers intended to create a very mobile Batsuit that would allow the wearer to move easily to fight and crouch. Previous film incarnations of the Batsuit had been stiff and especially restrictive of full head movement. Costume designer Lindy Hemming and her crew worked on the Batsuit at an FX workshop codenamed "Cape Town", a secured compound located at Shepperton Studios in London. The Batsuit's basic design was a neoprene undersuit, which was shaped by attaching molded cream latex sections. Christian Bale was molded and sculpted prior to his physical training so the team could work on a full body cast. To avoid imperfections picked up by sculpting with clay, plastiline was used to smooth the surface. In addition, the team brewed different mixtures of foam to find the mixture that would be the most flexible, light, durable, and black. The latter presented a problem, since the process to make the foam black reduced the foam's durability.[20]

For the cape, director Christopher Nolan wanted to have a "flowing cloak... that blows and flows as in so many great graphic novels". Hemming's team created the cape out of their own version of parachute nylon that had electrostatic flocking, a process shared with the team by the British Ministry of Defence. The process was used by the London police force to minimize night vision detection. The cape was topped by a cowl, which was designed by Nolan, Hemming, and costume effects supervisor Graham Churchyard. The cowl was created to be thin enough to allow motion but thick enough to avoid wrinkling when Bale turned his head in the Batsuit. Churchyard explained the cowl had been designed to show "a man who has angst", so his character would be revealed through the mask.[20]

Fight choreographers for Batman Begins, Justo Dieguez and Andy Norman, trained actors and stunt performers using the Spanish Keysi Fighting Method,[64] which itself gained fame after it was used in the film and its sequel, The Dark Knight; however, the method was modified in The Dark Knight Rises due to Batman's age and physical condition and in order to match Bale's fighting style. The method is a self-defense system whose training is based on the study and cultivation of natural instincts.[65]

For Batman Begins, Nolan preferred traditional stuntwork over computer-generated imagery.[7] Scale models were used to represent the Narrows and Ra's al Ghul's temple.[51][55] There were, however, several establishing shots that were CG composite images, such as Gotham's skyline, exterior shots of Wayne Tower, and some of the exterior monorail shots.[55] The climactic monorail sequence mixed live action footage, model work, and CGI.[66] The bats depicted in the film were entirely digital (except in shots containing only one or two bats), as it was decided that directing large numbers of real bats on-set would be problematic; dead bats were scanned to create digital models. Locations and sets were recreated digitally so that the flying bats would not appear incongruous once incorporated into the finished film.[66]

2005 was expected by industry experts to underperform compared to 2004. Many attributed the slump to be a result of high ticket prices, marketing costs, DVD sales hitting record levels, and new technologies creating an incipient demand for movies delivered directly via the Internet, over-the-airwaves, satellite dish or cable set-top box.[67] By the start of the theatrical summer in 2005 (May), the box office slumped for 11 consecutive weeks, with year-to-date ticket sales down 5.4 percent from last year even as ticket prices rose a moderate 3 percent, to around $6.40 on average, according to Exhibitor Relations. Theater attendance prior to the summer of 2005 declined about 8 percent.[67]

Several films were projected to not only perform well at the box office, but also reverse the slump at the box office. Star Wars: Episode III – Revenge of the Sith was expected by the industry to be the top grossing film of the summer due to being the final live action Star Wars film at the time. Other films that were expected to do well were Batman Begins, Madagascar, Mr. & Mrs. Smith, Fantastic Four, War of the Worlds, and Charlie and the Chocolate Factory.[68][69]

Batman Begins was expected by industry experts to help reverse the box office slump in June. However, there were concerns over a possible soft opening for the film. The previous film, Batman & Robin, was widely panned by critics and was credited with stalling the franchise since 1997. Bale's lack of star power at the time and a lack of iconic villains such as the Joker and Penguin that were portrayed by A-list celebrities were seen as possible detachments from audiences.[70][71] Some also expressed concerns that Holmes' involvement with the film could derail the film's financial prospect due to her high-profile relationship with Tom Cruise (whose film War of the Worlds opened the following weekend) after his controversial appearance on The Oprah Winfrey Show.[71]

Warner Bros. held the world premiere for Batman Begins in Tokyo, Japan on May 31, 2005.[72] The film opened on June 15, 2005, in the United States and Canada in 3,858 theaters,[3] including 55 IMAX theaters.

The DVD of Batman Begins was released on October 18, 2005, in both single-disc and two-disc deluxe editions[73] and also released on VHS and UMD Video formats.[74] In addition to the film, the deluxe edition contained featurettes and other bonus materials. The edition contained a small paperback booklet, the first Batman story, featured in Detective Comics #27, as well as Batman: The Man Who Falls and an excerpt from Batman: The Long Halloween.[75] Batman Begins achieved first place in national sales and rental charts in October 2005, becoming the top-selling DVD of the fourth quarter of 2005. The DVD grossed $11.36 million in rental revenue.[76] The DVD held its position at the top of the sales chart for a second week, but fell to second place behind Bewitched on video rental charts.[77] The film had brought in $167 million in DVD sales by August 2006.[78]

Batman Begins was released on HD DVD on October 10, 2006.[79] A Limited Edition Giftset of the film was released on DVD and Blu-ray on July 8, 2008, to coincide with The Dark Knight which hit theaters July 18, 2008.[80] Due to the successful box office performance of The Dark Knight, the Batman Begins DVD saw an increase in both sales and rentals.[81] Batman Begins was released on 4K UHD Blu-ray on December 19, 2017.[82] It received a novelization written by Dennis O'Neil,[83] and a comic book adaptation by Scott Beatty.[84]

Batman Begins ranked at the top in its opening weekend, accumulating $48 million, which was seen as "strong but unimpressive by today's instantaneous blockbuster standards".[85] The film's five-day gross was $72.9 million, beating Batman Forever (1995) as the franchise high. Batman Begins also broke the five-day opening record in the 55 IMAX theaters, grossing $3.16 million. Polled moviegoers rated the film with an A, and according to the studio's surveys, Batman Begins was considered the best of all the Batman films. The audience's demographic was 57 percent male and 54 percent people over the age of 25.[85]

The film held its top spot for another weekend, accumulating $28 million in a 43 percent drop from its first weekend.[86] Batman Begins went on to gross $205 million in North America and had a worldwide total of $371.8 million from its original release.[3] It earned $1.6 million more from its 2012 re-release, bringing its lifetime worldwide total to $373.4 million. It is the fourth-highest-grossing Batman film, as of August 2012, behind Tim Burton's Batman, which grossed $411 million worldwide and also being surpassed by its sequels The Dark Knight and The Dark Knight Rises, both of which have grossed over $1 billion.[87] Batman Begins averaged $12,634 per theater in its opening weekend.[3] It was released in more theaters, but sold fewer tickets than the other previous Batman movies, with the exception of Batman & Robin.[87] Batman Begins was the seventh-highest-grossing film of 2005 in the United States.[88]

Review aggregator Rotten Tomatoes gives Batman Begins an approval rating of 84% based on 287 reviews, with an average rating of 7.7/10. The site's critical consensus reads, "Brooding and dark, but also exciting and smart, Batman Begins is a film that understands the essence of one of the definitive superheroes."[89] At Metacritic, which assigns a weighted mean rating reviews, the film received an average score of 70 out of 100, based on 41 critics, which indicates "generally favorable reviews".[90] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[91][85]

Bale received critical acclaim for his performance in the film.

James Berardinelli applauded Nolan and Goyer's work in creating more understanding into "who [Batman] is and what motivates him", something Berardinelli felt Tim Burton's film had lacked; at the same time, Berardinelli felt the romantic aspect between Bale and Holmes did not work because the actors lacked the chemistry Christopher Reeve and Margot Kidder (Superman), or Tobey Maguire and Kirsten Dunst (Spider-Man) shared in their respective roles.[92] According to Total Film, Nolan manages to create such strong characters and story that the third-act action sequences cannot compare to "the frisson of two people talking", and Katie Holmes and Christian Bale's romantic subplot has a spark "refreshingly free of Peter Parker/Mary Jane-style whining".[93]

Los Angeles Times' Kenneth Turan, who felt the film began slowly, stated that the "story, psychology and reality, not special effects", assisted the darkness behind Batman's arsenal; he noted that Neeson and Holmes, unlike Bale's ability to "feel his role in his bones", do not appear to fit their respective characters in "being both comic-book archetypes and real people".[94] The New Yorker's David Denby did not share Berardinelli and Turan's opinion. He was unimpressed with the film, when comparing it to the two Tim Burton films, and that Christian Bale's presence was hindered by the "dull earnestness of the screenplay", the final climax was "cheesy and unexciting", and that Nolan had resorted to imitating the "fakery" used by other filmmakers when filming action sequences.[95]

Holmes' performance was criticized by critics, noting her lack of range and depth compared to the rest of the cast.

Michael Wilmington of the Chicago Tribune believed Nolan and Goyer managed to "comfortably mix the tormented drama and revenge motifs with light hearted gags and comic book allusions," and that Nolan takes the series out of the "slam-bang Hollywood jokefests" the franchise had drifted into.[96] Comic book scribe and editor Dennis O'Neil stated that he "felt the filmmakers really understood the character they were translating", citing this film as the best of the live-action Batman films.[97] In contrast, J.R. Jones, from the Chicago Reader, criticized the script, and Nolan and David Goyer for not living up to the "hype about exploring Batman's damaged psyche".[98] Roger Ebert, who gave mixed reviews to the previous films, and claimed in his review for Batman Returns that he did not believe noir worked in superhero films, wrote this was "the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for". Giving it four out of four stars, he commended the realistic portrayals of the Batman arsenal – the Batsuit, Batcave, Tumbler, and the Batsignal – as well as the focus on "the story and character" with less stress on "high-tech action".[99]

Like Berardinelli, USA Today's Mike Clark thought Bale performed the role of Batman as well as he did Patrick Bateman in American Psycho, but that the relationship between Bruce Wayne and Rachel Dawes was "frustratingly underdeveloped".[100] Kyle Smith thought Bale exhibited "both the menace and the wit he showed in his brilliant turn in American Psycho", and that the film works so well because of the realism, stating, "Batman starts stripping away each layer of Gotham crime only to discover a sicker and more monstrous evil beneath, his rancid city simultaneously invokes early '90s New York, when criminals frolicked to the tune of five murders a day; Serpico New York, when cops were for sale; and today, when psychos seek to kill us all at once rather than one by one."[101] In contrast, Salon.com's Stephanie Zacharek felt Nolan did not deliver the emotional depth expected of "one of the most soulful and tortured superheroes of all"; she thought Bale, unlike Michael Keaton who she compared him to, failed to connect with the audience underneath the mask, but that Gary Oldman succeeded in "emotional complexity" where the rest of the movie failed.[102]

Film director Tim Burton—who had directed the 1989 Batman film and its first sequel—felt Nolan "captured the real spirit that these kind of movies are supposed to have nowadays. When I did Batman twenty years ago, in 1988 or something, it was a different time in comic book movies. You couldn't go into that dark side of comics yet. The last couple of years that has become acceptable and Nolan certainly got more to the root of what the Batman comics are about."[103]