Batman Begins ★★★½

Dripping in scummy brown and murky shadows, Batman Begins conveys a society in decay, almost hopeless in redemption. There are those who seek to destroy in order for them to evolve and renew, but Bruce Wayne sees a city merely crippled in agony, simply waiting for a helping hand to eliminate the viral corruption and dissolution that shrouds over Gotham City.

With numerous sections that rely on studio-set exteriors or utilising constructed elements to blend with real locations, Nolan fabricates a distinct look of the world that slightly heightens reality, tweaking elements to fit the mis-en-scene to the needs of the narrative. Batman Begins is an introductory piece that sinks into the deeper essence of the protagonist, highlighting the relationship between himself and the city, himself and his familial legacy, and his placement in a world that is content to have him stand there as decoration. 

World building is Nolan’s angle and it is in the progression of such that it continues forward and develop in the later films that would frequently scrutinise, criticise, and redefine the city that houses Wayne, his companions, his people, and his rogue gallery.

An admiration is felt for the film for sure, but it is far from being dramatically sweeping and aesthetically exhilarating as some of Nolan’s films could deliver, and that includes those that exist outside the trilogy.

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