Symbolism in the Dark Knight Trilogy | Part 1 – Batman Begins


“In studying English literature, and talking
a lot about it, I started to become more at ease with the idea that filmmakers, storytellers,
they grasp evocative symbols, they grasp resonant imagery, and the reason these things are evocative
and resonant, is that they do have other layers, subconscious layers of resonance, that the
reader or in the case of film, the film-goer can pick up on and interpret in their own
way, and that that is a valid approach. And that was something, in retrospect, I very
much needed to learn and get on board with” After more than 80 years since his first appearance
in Detective Comics Volume 27, the character of Batman remains one of the world’s most
iconic and well-regarded superhero figures of all-time.
And although numerous filmmakers have since attempted to translate the caped crusader’s
universal appeal onto the big screen, none have arguably done so as effectively as director
Christopher Nolan, with his Dark Knight Trilogy. “My primary obligation was to look at the
history of that character, 66 years of that history, and draw from that, distill from
that, the essence of what makes the legend. That really was the primary obligation. I would argue that unlike some of the other
iterations, Nolan’s trilogy successfully managed to capture this underlying essence,
transforming what could’ve otherwise been a run of the mill superhero story, into a
three-part cinematic journey about a man haunted by a tragedy, fighting his inner demons to
save his city its people, and ultimately to save himself.
In this first part in my series on the Dark Knight Trilogy, I will take a closer look
at Batman Begins and examine how Christopher Nolan utilized the symbolic power of the Batman
character, to construct the most evocative iteration of the dark knight’s origin story
to date… “The original inspiration behind the Dark
Knight trilogy and particularly Batman Begins, it was about taking this beloved character
and re-contextualizing the character. “Well that was very important to me because,
I thought Tim Burton’s vision of Batman, I thought was extraordinarily stylized, quite
brilliant actually and very visionary, but extremely idiosyncratic and stylized. And
what it denied me that I’d seen in the comics, was the notion of Batman standing out against
his environment, a relatively ordinary environment, so that the citizens of Gotham are as amazed
by this iconic figure as the audience is. And a sense viscerally of the impact of everything
he does. If you can believe in it, if you can relate it to the textures of everyday
life, then I think you’re taking the audience on a more extreme journey, because things
seem real, and they’re investing in the concrete reality of these things.” “And so, for me it was much more about creating
a recognizably real scenario that the extraordinary figure of Batman could exist in, and addressing
the origins of that, the origin story, which hadn’t been told in films before. Hadn’t
really even been addressed in the comics very specifically actually. And so, we were able
to really look at that gap in pop culture and say, okay, what if we try to ground this
and really explain how this might happen in a real-world scenario, that was always the
jumping off point for the tone of the films.” To Nolan, the symbolic power of the Batman
story can only be effectively conveyed to an audience, by stripping the character down
to its core, and then grounding that archetypal essence into a palpable reality. Thereby constructing
a narrative that balances out the mythic and the real. “And what made me feel that I knew how to
tell that story, because it’s a very noir-ish story, it’s very much a thriller. Yes, it’s
a superhero film, but at a base level it’s based on these ideas of guilt, fear, these
very very strong impulses that the character has and of course the thing you always have
to remember about Bruce Wayne, Batman, you know Bruce Wayne doesn’t have any superpowers,
other than extraordinary wealth, he’s in that sense very relatable and very human.
And I think that’s why I gravitated towards it. Because they’re stories that are massively
operatic and appealing in their universal nature, in their operatic larger than life
nature, but they’re based on very very relatable human beings and particular the figure of
Bruce Wayne who I think is a very fascinating and very primal figure at the heart of this
fiction.” The story of Bruce Wayne in Nolan’s trilogy
is one that begins with and centers around a fall. This fall is both a literal fall as
well as a symbolic descent into fragmentation and death, one that, as Jonathan Pageau observed
in his video on Batman, maps almost perfectly onto the story of the Fall of Man from the
Garden of Eden. Bruce and Rachel are playing in the garden
of Wayne Manor. Like Adam and Eve, they convey a sense of innocence and wholeness in their
being. The Wayne family is covered in wealth, and stands quite literally at the center of
Gotham, the city which they helped create. But this sense of sufficiency and centeredness
is suddenly disturbed when Bruce falls down a dark cave after stealing an arrowhead from
Rachel. Like Adam and Eve, with the tree of the knowledge of good and evil, Bruce’s
worldview is cracked as he is confronted with fear in an image of animality and death, which
first takes form in the arrowhead as a tool of death and a weapon of war, and then in
the attacking swarm of bats. His helplessness is laid bare for only a moment, but comes
to be fully exposed shortly after when Bruce realizes that not even his parents can ultimately
shield him from the realities of the outside world. Blinded by their sense of sufficiency,
they willingly exit the theater into a dark alleyway where they are suddenly confronted
by the knowledge of good and evil in the form of an armed mugger, who tragically kills Bruce’s
parents. Helpless and alone, Bruce realizes that he is naked. Like Adam and Eve, he falls
from his garden, his harmonious bond with Rachel is broken, and he is left to compensate
for his Original Sin, which is the guilt he feels for the death of his parents.
Nolan then takes this symbolism of the Fall and injects it into every level of the story.
And so, if the fall is something that happens to Bruce both literally and psychologically,
it simultaneously plays itself out on the societal scale through Gotham City. The state
of the city in ways becomes synonymous with the state of Bruce Wayne as a person. “I mean we were trying to build a world
in a way that, Ridley Scott had done in his films like Blade Runner for example. We were
looking at the silent era, Fritz Lang’s films, Truffaut. Trying to figure out the
use of the geography of a city to express a sense of metaphor or allegory with the narrative
we’re creating which is what the world of Batman and Gotham as a sort of heightened
version of a regular city, you know, a kind New York on steroids if you like.” “The death of its main protector at the
hands of one of its own citizens exposes Gotham City to its insufficiency, as it attempts
to cover this nakedness with an ever-thinning veil of justice and order. In Bruce’s absence,
the tower of Wayne Enterprises has been taken over by a corrupt new CEO. The city’s insane
asylum is run by a doctor more insane than the majority of his patients, and its justice
system is bought and controlled by the town’s biggest crime boss.
And to push this imagery even further, Nolan shows us Wayne Manor, as this symbol of the
old order or the spirit of the city, in a frozen and dilapidated state, like a repressed
trauma one tries to cover up and forget about. The city, in its fallen state, is not yet
ready to face its demons, and neither is Bruce. His unexpected return to Wayne Manor is not
one indicating a return to his center by means of personal transformation, but is rather
fueled by a selfish and destructive desire for revenge. Bruce’s near transformation
from the legacy of the city’s most cherished philanthropist, into a lawless murderer, then
becomes the ultimate image of this cynical fallen state and this upside-down world.
It’s only through a stroke of luck and a slap in the face by Rachel, that he’s woken
up out of his vengeful stupor. He realizes that to effectively fight the city’s corruption,
he first needs to understand the criminal mind, he needs to face his own insufficiency.
So Nolan has him descend down into the edge of the world, into the underworld. This descent
takes both the physical form of self-imposed exile, in which Bruce loses his high-status
billionaire identity and lowers himself into the world of petty crime. But it’s also
the image of a psychological descent into the edge of his own being.” “One of the fun things about the character,
one of the great things about Batman, is this sort of elemental nature, this kind of mythic
quality that his story has. And I think the first third of our film that truly deals with
his leaving Gotham and going around the world and finding the means to fight crime essentially.
There’s a lot of you know, The Count of Monte Cristo, things like that, this kind
of part of the story where the Hero is forced or has to, you know, abandon his Kingdom if
you like, and discover himself and then returns changed. That’s a really important part
of the myth of the character I think, but it hasn’t really been addressed before.” Initially however, Bruce’s journey to self-discovery
lacks a clear sense of higher purpose, as he gradually becomes disillusioned, bogged
down and ultimately stuck in this chaotic world, a prisoner to his own inertia. Appearing
to him at his lowest point like a projection from his own psyche, Ra’s al Ghul offers
to lift him out of his prison to become a guardian of true order and justice by joining
the League of Shadows. This moment marks the beginning of Bruce’s mythic ascent, his
journeying out of the underworld, out of the edge of his being, and towards his center.
And as a fitting image to mark his starting transformation, Bruce has to pluck a rare
winter flower as this potential of new life out of death, and bring it to the top of a
mountain to the headquarters of the League of Shadows, where he will find the promise
of a new identity. But in order to move into this new identity,
Bruce has to supplement his insufficiency. And so, like Adam and Eve after the fall,
who had to work the ground to stave off death, Bruce has to compensate for his nakedness
by means of rigorous physical and cognitive training. But most importantly, he is forced
to supplement his biggest weakness, which is the fear surrounding his childhood trauma… “Well one of the first things that we uncovered
in the history of the character, what makes Batman essentially, was the rationalization
or the explanation really of why he gravitates towards the bat, the figure of the bat, the
symbol of the bat. And ultimately when, when Alfred asks him,
he says it’s because he’s afraid of bats. And so we started to weave fear into really
every aspect of what Bruce Wayne has to deal with in the world. And so fear really underlies
everything that goes on in the films.” Bruce has to cover himself in his fear in
order to fight fear. He has to embrace the primal emotions surrounding his trauma and
use those to fight the criminals of Gotham City.
But it’s not until the very end of his training that Bruce realizes Ra’s al Ghul’s true
intentions. Ra’s and the League of Shadows utilize their darkness to spread darkness,
aiming to flood Gotham City to restore it to harmony. The ascent up the mountain is
thus revealed to have been a false source of enlightenment, meant to lure the lost and
the disillusioned into the hands of a tyrannical ideology. And in the same manner, the blue
winter flower becomes not the image of potential new life, but is inverted into a symbol of
death, as the League uses its toxic serum to spread fear and panic among its victims.
But if the League of Shadows showcase the dangers of an extreme ideology on a physical
level, they also come to represent the pathologies within the individual human being. On a personal
level, Ra’s al Ghul is part of Bruce’s unconscious, of his shadow. A small part of
him that exists hidden at the edge of his being. The part that comes to him at his lowest
point, that shows him who he could become and that tempts him to fully indulge in his
darkness, in his feelings of anger, guilt and resentment.
But instead of embracing this indulgence, Bruce sets the headquarters on fire, exposing
his darkness to light, and rises out of the blaze, seemingly having integrated this part
of his shadow. But in unknowingly saving Ra’s al Ghul, Nolan shows us that Bruce is not
yet ready to truly let go of his feelings of anger and resentment, and so he unconsciously
leaves open the possibility for his shadow to retake control over his life. “There’s an important scene in the jet
between Alfred and Bruce Wayne after he leaves the League of Shadows, where he talks about
the logic of becoming a symbol, why he has to become something more than just a man.
And in Batman Begins, it became an important thing to get across.” Upon his return to Gotham he realizes that
his darkness can also be his ally. And so, he ventures down into the caves hidden underneath
Wayne Manor, down into his true identity, where he’s once again greeted by his fear
in the form of a swarm of bats. But this time around, he doesn’t shrink back in panic,
but instead shines a light on it and embraces it.
And so, like Adam and Eve, who covered their bodies in dead animal skins, so too Bruce
covers himself in the form of the bat, both as a physical armor, but also as a layer of
animality. He understands the need to cover himself in fear and death, not to spread death,
but to fight it. Using part of his animality, his shadow, and transforming it into a force
of good. In order to then become a symbol, Bruce must
utilize this new identity to take on the role as the dark guardian of Gotham City. In his
monstrous and hybrid appearance, Batman participates in the imagery of the gargoyle, which as Jonathan
Pageau has pointed out, is the architectural version of the mythological guardian at the
edge of the world. And like the gargoyle, designed to keep water out of buildings, Batman’s
job is to cover the realm from the forces of chaos that seek to flood it.
And so as Bruce has started lighting up his shadow, so too Batman begins to illuminate
the unattended to corruption in Gotham City. “As a guiding principle, I always wanted
to try and align the audience with Bruce Wayne’s perception. My fascination with storytelling
in films is all about that subjectivity, it’s all about whose point of view am I seeing
the story from. That’s very much the game, it’s creating a maze and then putting the
audience into the maze with the rat if you like, rather than hanging above it and seeing
it make the wrong turns, you kind of make the mistakes with the character.” Bruce is not yet fully formed in his new identity,
and the question arises whether he is doing this more out of personal interest, than out
of a sense of selfless devotion to the people of Gotham City?
Nolan represents this separate part of Bruce’s shadow in the form of the Scarecrow.
Much like Ra’s al Ghul, Dr. Crane’s frightful alter ego is shown to be an inverted guardian
of sorts. Instead of helping his psychiatric patients to confront their inner demons, he
indulges in fear and chooses to spread it among his victims for his personal gain. Instead
of keeping the monsters out, he actively poisons the city’s water supply, turning it from
a controlled force of renewal into a destructive flood. And so, if Ra’s al Ghul is the manifestation
of Bruce’s unacknowledged resentment and anger, of the potential tyrannical figure
that he could easily become, the Scarecrow comes to represent his inner selfishness,
the danger of Batman becoming a tool for Bruce’s ego.
And unsurprisingly, it’s at this exact moment, when all of these bubbled up emotions come
to head, that Ra’s al Ghul suddenly reappears in Bruce’s life. An idea, like our more
animal nature, can never be truly done away with. And if one is not paying close enough
attention, these forces can take over and cause great damage to one’s life.
Nolan then shows us the image of this dying of the old order in the burning of Wayne Manor,
with Bruce Wayne literally having collapsed under the weight of his trauma. And it’s
Alfred, in his role as wise old man and as Bruce’s conscience, who pushes him to keep
on fighting to save his own life. And so the destructive fire as a marker of death, is
turned into the beginning of a rebirth, both in the lifting up of the crippling weight
of Bruce’s trauma, and in the going down into his inner being in order to face himself
one more time. And so, as Bruce has to venture into his trauma
once more, so too, Gotham City has to confront its insufficiency in an ultimate struggle.
This confrontation is appropriately placed on the island of the Narrows. As this dark,
lawless slum, home to the downtrodden and the mentally ill, and existing as this undefined
place connecting two parts of the city, The Narrows act as the symbolic mirror image of
the alleyway. And the confrontation that ensues there can therefore be seen as the societal
manifestation of Bruce’s childhood trauma. Ra’s al Ghul’s vaporizer turns Gotham’s
water supply into a panic inducing poison, causing a flood of fear and chaos to spread
throughout the island, exposing its people to their insufficiencies in a literal mist
of confusion and terror. Now possessed by its shadow, like Bruce in the years after
the murder of his parents, Gotham is on the verge of tearing itself apart. Traveling like
an infection through a body, Ra’s al Ghul takes the vaporizer towards the heart of the
city and its main water network underneath Wayne Tower. If this center is reached, the
entire city will be flooded in fear and will collapse upon itself.
These events simultaneously perfectly mirror what is happening in Bruce’s unconscious,
functioning as the image of his trauma threatening to consume him whole. And it’s only by finally
letting go of his attachment to his fear, his anger and his selfish resentment, that
this part of his shadow can be integrated into his identity, as shown in the final lighting
up of Ra’s al Ghul beneath Wayne Tower. Flying off into the night, Bruce is now fully
established and committed to his role as Batman, and has made great strides in his ascent towards
his center and his identity as an individual. And in the same manner, Batman has pulled
Gotham City out of death and has helped it to face its own fears in his role as the supplement
or the guardian of the city, and in his efforts to mass produce an antidote against the fear
poison. But also, and more importantly, in the way that he’s starting to become a symbol
of hope, a sign that the city can stand up for itself and make its own ascent from its
fallen state. Nolan then adds to this sentiment by showing
the salvaging of the spirit of Bruce’s parents in the rebuilding of Wayne Manor. The previously
frozen and burdensome trauma is transformed into a means to strengthen Bruce’s character
and his resolve. And yet the final return to the harmony of
the Garden has not yet been accomplished. The unity of masculine and feminine cannot
yet be reestablished. Because although Bruce has strengthened his being and has provided
the city with courage and the hope for a better future, he is still disjointed in his identity.
His ascent has only just begun, and now that he has opened the door to the insufficiencies
of his inner being, more shadows will emerge and more resistance will need to be faced
before a return to harmony can take place. “Yes, I mean he’s a very complex heroic
figure, and I think what I wanted to do by the end of the film is leave the audience
with a sense of having seen and experienced heroics and a sense of triumph, but that’s
oddly tempered. And that’s very much the Gary Oldman’s role by the end of the film,
is to just introduce this slightly bitter sweet note of, things are not all wonderful,
and it’s not simple” “There is an idea that we got from the comics
about escalation and about the fact that Batman’s, or Bruce Wayne’s response to criminality,
is as extreme as it gets. That’s going to prompt an equally extreme response ultimately.
And so, there is a sense of things being visited upon Gotham because of Bruce Wayne’s actions.
And that’s something that I think is very important with the story. I mean I find Bruce
Wayne not to be unpleasant, I think he is damaged goods. I think he’s a character
that I wanted the audience to have a lot of sympathy for, and that’s why we spend a
lot of time showing what happened to him as a child and how he has arrived at where he
is.” “It’s somebody not being able to overcome
their most selfish instincts, it’s somebody finding a way to supplement them, or finding
a way to channel them, into this different persona.” “And I think that the more that those flaws
are allowed to just bubble under the surface, you know, underneath the sort of triumphalism,
I think that makes things, I think it makes it more like real life frankly.” With Batman Begins, Christopher Nolan has
captured the essence of the Batman, an essence that we as human beings can universally relate
to. It’s the tale of a tragic fall, of a person and a society ripped apart by trauma
and corruption, engulfed by feelings of guilt, anger, fear and grief. It’s the journey
of a man starting to come to terms with his insufficiencies both within and without, lifting
himself out of death, and transforming the tragedy of his life into the beginning of
a long and arduous ascent… “Those were all the things feeding into
the way in which we approached telling those three stories, or one big story over three
films. And we went into it not knowing that we would get to make three films. We approached
Batman Begins very much as an isolated piece. But always with a sense that okay, if we could,
we would return to Gotham we would try to flesh out a bigger story, because we were
interested to see in our telling of Bruce Wayne’s story, there was always a finite
sense to what he was doing. And that’s unusual in the interpretation. But our idea was that
it felt that he would need to view this as a character he’s created or a symbol he’s
created to try and inspire the people of Gotham and there would be an endgame to that, that
he would have an effect on the world and then be able to stop. And so, we became very interested
in seeing how that story would play out.” This video is brought to you by MUBI, a curated
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100 thoughts on “Symbolism in the Dark Knight Trilogy | Part 1 – Batman Begins”

  1. I feel like I was so unfair to this movie when it came out. I remember following the new super hero hype and thinking this was definitely among the better of them at the time but its aged phenomenally well. And The Dark Knight is for my money the greatest super hero movie likely ever to be made, but we would never have The Dark Knight without the amazing set up of Batman Begins.

  2. I just do not understand why people revere this. I do not. I found the villians better than any aspect of the movie and that's about it. Great fun movies, but not on the level of worship they recieve.

  3. What a hell of a coincidence , I just bought the blu ray of batman begins today and here is an analysis video of batman begins uploaded in the same day !

  4. I rewatched Batman Begins a few weeks ago, and it's such an underrated, beautiful film about Batman's inner demons. It also strikes me as the most comic-bookish of the trilogy, and I absolutely love it

  5. The Dark Knight Trilogy is one of the best film series to ever grace the cinema. awesome analysis btw can't wait for more

  6. 25 minutes?? You guys went missing for a while but cooked up some marvelous shit. Only channel I'll hit the like before watching

  7. Alfred said, “why do we fall?” …what’s another word for fall? Autumn. What happens in autumn? The leaves turn colours…turning colours means changing sides…side-splitting is another way to say…laughing…Alfred has been the Joker this whole time!

  8. This analysis was friggin awesome!

    The fall is we went from brilliant movies like this to utter garbage like the Justice League. Can't wait for Joker!!

  9. The first time this vid was uploaded, was it 25 mins long or longer? I seem to recall it was longer, but who knows

  10. The difference between when Chris Nolan and Zack Synder explain their films is like night and day. Zack sounds like a 5 year old who puts things together because they are cool, but look how well thought out Chris Nolan's Batman films are

  11. Great Video and analysis of the character using Jung`s concept of the shadow and the Anima, i could not sense any information overload on the contrary there is more to be told, i cant wait to see part two ( the dark knight ) i guess it would be a longer video because the Joker is a very deep character that represents not only 1 man`s shadow but the collective shadow of Gotham city, which tests the Hero`s personality to its core ! Heath Ledger simply personified the Trickster Figure ( Archetype ) in this movie.

  12. Any chance you could do something similar with Shyamalan's Eastrail 177 trilogy? It's possibly the most unique superhero franchise ever made.

  13. "Batman doesn't have any superpowers other than extraordinary wealth. In that sense, he's extremely relatable." Yeah, everyone can relate to being a billionaire and how hard it is to not struggle with everyday life.

  14. The Truth About Joker in The Dark Knight
    Heath Ledger played the role of 2 Jokers in The Dark Knight. In a standard deck, there are usually two Jokers. Only Christopher Nolan, Johnathan Nolan, and Heath Ledger were the only ones in on this secret.

    There are 2 Jokers in a Deck of Cards and it was all to be revealed in The Dark Knight Returns but due to Heath's passing the World never knew the truth in revealing the true “Ace in the Hole” which was his Twin Brother.

    Both Jokers are ex-Special Forces and Twins.

    For the sake of my argument, I'd like to introduce the 2 Jokers, One Joker specializes in Explosives Ordinance Disposal. Which we shall call "EOD Joker" The Other Joker is Military Intelligence. Which we shall call "MI Joker" Both are very proficient Special Forces Operatives.

    In the first scene, during the bank heist, The henchman asks Why do they call him the "Joker" and argue that "he thinks he can sit this one out" Where did they get the Bronco? Who supplied the Weapons, Gernades and Ammunition? It was MI Joker, while the Bank Heist was carried out by EOD Joker. Who supplied the Transportation? It was MI Joker.

    In Regards to the origin of the Scars

    Military Intelligence Joker states it was his father who was a Drinker and before executing Gamble While EOD Joker tells Rachel his scars come from his wife, getting into deep with the Loan Sharks, at Harvey Dent's fundraiser at Bruce Wayne Penthouse.

    While Military Intelligence Joker tortured Brian (Batman copycat) EOD Batman was setting the explosives and mixing Ammonia Nitrate.

    While Military Intelligence Joker carried out the attack in which Harvey was acting as bait, he was eventually captured and kept in Gordons Cage, While EOD Joker was wiring up Rachel and Harvey Dent. It was not Maroni's men that wired up the 2 locations, it was EOD Joker, who rigged the henchman, and the 2 locations. As an "Inside Joke" for his brother Military Intelligence Joker, EOD Joker switched up the locations in which Harvey and Rachel were being held.

    While At the Docks, Military Intelligence Joker burns his half $6,328,000,000 of the 12.6 Billion Dollars ripped off from the Mob. While EOD Joker is at the Gotham General Hospital rigging up the Explosives which will bring it down in one hour. EOD Joker interrogates, Harvey and sets him free. They never state what happened to the Mob's other half this is a Major Plot Hole.

    In one hour, it was not possible for Military Intelligence Joker to get across Gotham City to Gotham General. While GPD/Gordon was all over Gotham trying to find the Bombs which Joker promised to detonate if Coleman Reese was kept alive after one hour.

    At the Tower, Military Intelligence switches place with EOD Joker and takes charge of the hostages. Arriving with Chechnyans Rottweilers who arrived directly from the Docks after feeding upon him. While EOD Joker switches places with MI Joker he finishes wiring up Liberty and Spirit ferries.

    The detonators on each of the ferries at the end were linked to the bombs on the SAME ferry, not the other ferry. Both Brothers are huge into Game Theory.

    During the “The battle for Gotham’s soul.” Batman saves Military Intelligence Joker, MIJ talks about his " Ace in the Hole." Many think it's Harvey Dent, which his brother freed from Gotham General.

    In reality it’s EOD Joker, who has left Gotham with the remaining fortune of the Mob. Which will be utilized to create more havoc around the world and lead into The Dark Knight Returns. While Military Intelligence Joker sits in Blackgate Penitentiary awaiting for the return of his brother the True "Ace in The Hole." to break him out.

    This was what truly was meant to happen.

    I’m posting this for I have broken the Nolan Code of all the Nolan Movies and Shows (Westworld) and am aware that both are Messiahs for the Black World of Technology. Black World/Projects uSAP/SAP.

  15. "Some men just want to make great video essays on great superhero movies." Batman Begins is an incredible character journey and an incredible telling of Batman's comic-book history. The movie literally starts with an iconic image from one of Batman's most influential stories (The Man Who Falls) and ends the same way (Year One). And it popularized many obscure Batman characters that even many comic fans didn't know existed. I started reading Batman comics three years prior to first seeing Batman Begins; somewhere around 2001-2002. I was pretty much in loop with most things about Batman and his history, but even I was not aware of characters like Lucius Fox. Since then he became one of my favorite supporting characters in Batman's universe. That's what a great adaptation does: makes you a fan of characters you didn't know about beforehand.

  16. This video have to be made because we don't want some dumb jackass director won't make batman look like a fool like in BVS shit

  17. The Dark Knight trilogy is so underrated.. Yeah they’re massively and widely respected and recognized but I feel there’s more talk of movies so inferior to these.

    It’s not the most comic book accurate but it sure as hell is the most entertaining. Heck the Batman Begins game was pretty damn fun for it’s time, especially when compared to the other Batman games the only games that are better I’d say it’s the Arkham games.

  18. “It’s not just your name, it’s your fathers name and it’s all that’s left of him!”

    There’s so many memorable quotes in these movies and I’ve never even seen anyone mention that certain one.

  19. To the scriptwriter: You’ve gazed into the abyss, haven’t you? I have yet to find someone who can talk like this and hasn’t ventured on the path to confront his/her shadow. If you know, you know. I hope you’ve made it through.

  20. I think Batman Begins is the rising action, The Dark Knight is the climax and The Dark Knight Rises is the resolution

  21. I really appreciate the MCU and what it's done for the genre. But just the sound track you use in the back ground gives me goosebumps. The Dark Knight trilogy is just on another level… Great video…

  22. "Ra'z Al Ghul"-Ra'z is pronounced like the Hat in Hatian. Like the Rat in Ratio. NOT RAZ! They addressed the pronunciation in BTAS and Batman Beyond. Please correct yourself on the future. I'm not trying to be an a**hole, it just urks me when people say his name incorrectly.

  23. His superpower isn't wealth… that belittles what his true strength is. He is who He is, not because of superpowers, but because of His personality, His character, or soul. Him being relatable, is only relatable if you are the kind of person that he is… motivated to become the best in order to dedicate your life to others (self-sacrificing), a spirit of endurance and perseverance to continue with the mission even when there is no end in sight – but you still do it because it's who you are – and you can't stand for evil. It's not about redemption, as he can't save his own soul. The only soul savior is God. But Batman does have a passion to fight against evil (at least outwardly), though the spiritual darkness "the demons," he cannot conquer, that too is only something Jesus is able to do.

  24. This is absolutely brilliant. I can't wait to see your analyses of the other movies.

    Also: that laugh at the end. PERFECT

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