Epic! Like a super trailer for my favorite trilogy.
That’s right, DARK KNIGHT replaces STAR WARS and/or INDIANA JONES. It’s just so damn well written and interconnected. One of the few trilogies that actually comes full circle.
Never has a comic-book adaptation been treated so seriously. It’s not for kids, it’s some serious shit!
“chameleon29” has some awesome artwork on deviantArt of favorite heroes and villains from both DC and Marvel comics. Some are even available as prints (and/or magnets and mugs)!
Too bad I have no money…. Damn you, comic addiction!
My personal favorite it Batman, not to say the rest aren’t great. I simply love the interpretation with the extra sharp ridges and lines of the mask, especially around Batman’s eyes.
I do apologize for the deviantArt watermark, but I thought these pieces were so damn cool I’d share them with my fellow geeks anyway. The art may be fairly familiar in pose (especially Iron Man), but the style really grabs me, you know?
(Gross, not in that way! Get your mind out of the gutter, buddy!)
All appear to be the “movie versions” of their character. Bane is obvious, though Spider-Man and Iron Man also sport masks closer to their big-screen design. In Spidey’s case, I think we’re looking at the original Sam Raimi version played by Tobey Maguire.
Check out the two purely comic inspired characters by clicking READ MORE below.
EXTREME SPOILERS AHEAD FOR AVENGERS, DARK KNIGHT RISES, AND SKYFALL.
Possible SPOILERS for any other films referenced.
We’ve finally reached 2012, a year full of great villains! Perhaps the best year for antagonists in this modern age!
Some 2012 Villains spent their time in glass cages…
All of 2012’s “Terrible 3” fit the mold I discussed in previous posts of “A Better Class of Criminal” (Part II, Part III). All 3 deserve to be on the list of 100 greatest villains ever; any other year, each would be the highlight due to less steep competition from the other 2.
Loki (Tom Hiddleson), THE AVENGERS
Only one way to wipe that grin off his face…
Loki is the weakest of the 2012 “Terrible 3,” yet he is still fan-diddily-tastic and miles above most antagonists on the silver screen (technically, billions of miles above, since he is from Asgard…).
Let’s tick the boxes off for the traits we’ve already covered ad nauseum…
1) Loki has a mastermind of a plan. The demi-God is always on step ahead of S.H.I.E.L.D., the Avengers, and even his own brother, Thor. More specific, like great villains past (think the Joker), his plan involves being captured in order to destroy the Avengers from the inside. In his case, he wants a shot at the monster S.H.I.E.L.D. brought on their own Hellicarrier, Bruce Banner aka the Hulk.
Like I said, the glass cage is all the rage in 2012!
Even past his capture and escape, Loki is a step ahead of Captain America and team, setting up at Stark Tower before even Tony Stark realizes it.
Loki grins as he “stabs” a man in the eye.
2) Loki loves his work. He smiles so often, with such evil and glee, even when things look there worst for him. My personal favorite is the smile Loki pops off while “removing” a man’s eyeball before he first encounters Captain America in Germany.
He smiles when he arrives on our planet, as Thor threatens him, as he watches Thor, Iron Man, and Captain America clash, as he passes Banner’s lab in cuffs, as he threatens Black Widow, and even when Tony Stark taunts him in the third act. Loki’s having so much fun he can’t contain himself.
Smiles All Around
As a result, so do we! A lot of credit has to go to the actor, Tom Hiddleson, on this one. As written, Loki could be played more seriously, but Hiddleson nails Loki’s playfulness.
3) Speech! Speech! – Loki may not have a unique voice like his predecessor, The Joker, or his successor, Bane, but he can still deliver quite the evil speech.
To the people of Germany:
“Is not this simpler? Is this not your natural state? It’s the unspoken truth of humanity, that you crave subjugation. The bright lure of freedom diminishes your life’s joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel.”
To Black Widow:
“I won’t touch Barton. Not until I make him kill you! Slowly, intimately, in every way he knows you fear! And then he’ll wake just long enough to see his good work, and when he screams, I’ll split his skull! This is my bargain, you mewling quim!”
To Hulk:
“Enough! You are, all of you are beneath me! I am a god, you dull creature, and I shall not be bullied by…”
Ok, so not all Loki speeches end so great…
No one fucks with Phil Coulson… except Loki.
4) Loki is unique. Sure, we’ve seen many super-villains over the years, but Loki is a God/Alien. He considers himself a fallen king, driven mad by the power of the Tesseract and envy of Thor. He sees the human race as ants, something very few to no villains mentioned previously feel. After all, even those like Norman Osbourne aka the Green Goblin, who sees himself as above regular people, was human himself before experimentation.
5) Loki makes it personal. He attacks the Avengers “where they live” (according to Tony Stark), killing friend of the team Agent Phil Coulson.
Bane as painted by Casey Callende.
Bane (Tom Hardy) , THE DARK KNIGHT RISES
I argue that Bane is an even stronger Nolan Batman baddie than Joker… and most people call me a fool.
Joker may have tested Batman’s one rule… and corrupted Gotham’s White Knight, Harvey Dent… but BANE BROKE THE BAT! And held Gotham hostage for months, keeping the entire US government at bay.
The panel from KNIGHTFALL
My favorite scene in Nolan’s entire DARK KNIGHT TRILOGY is Bane and Batman’s initial fight in the sewers. Not only is the action perfectly brutal, leading to the destruction of Batman – the final moment true to the exact panel from the comic – but every line Bane utters during the fight is gold; instantly classic. Both the writing, and the all important delivery by the extraordinary Tom Hardy make the scene the best of the comic-book-movie crop:
“Not as serious as [your mistake], I fear…
Let’s not stand on ceremony here, Mr. Wayne.
Peace has cost you your strength. Victory has defeated you!
Theatricality and deception. Powerful agents to the uninitiated. But we are initiated, aren’t we Bruce? Members of the League of Shadows. And you betrayed us!…
I am the League of Shadows! I’m here to fulfill Ra’s al Ghul’s destiny!
You fight like a younger man with nothing held back. Admirable, but mistaken.
Oh, you think the darkness is your ally. But you merely adopted the dark. I was born in it, molded by it. I didn’t see the light until I was already a man. By then it was nothing to me but blinding!
The shadows betray you, because they belong to me!
I will show you where I have made my home whilst preparing to bring justice to Gotham… Then I will break you.
Your precious armory, gratefully accepted. We will need it.
Ah yes, I was wondering what would break first… your spirit… or your body?!?!”
CLICK “READ MORE” BELOW FOR MORE BANE GOODNESS! NOW WITH SILVA FROM SKYFALL!
This week saw more arrivals of new Marvel NOW books. Lucky for us this “not a relaunch” looks like its producing some interesting stuff. One of my picks this week comes from the debut of the new Thunderbolts. I love the concept for this book with a team of anti-heroes coming together to be a more brutal Marvel team book. The inclusion of Electra is the only thing that makes me hesitate but as long as there are not too many Electra-focused story lines then this book should have a good run. A book that includes Venom, Deadpool, and Punisher is hard to pass up for me and this issue leaves a promise of a serious ass-kicking run in the future for the Thunderbolts. Of all of the Marvel NOW books this one’s #1 issue has got me the most excited to see where things go.
Which turns me to another Marvel NOW book, one thats got me excited AND giggling, Deadpool #3 continues the ridiculous story of zombie American presidents. What an opening arc it has been, this is exactly what Deadpool should be; Absurd fun with wicked originality. Never have I more enjoyed watching Nixon get punched in the face, which is saying something. Another great bit about the first 3 Deadpool issues so far is the covers, each one looks great and provides the first funny tickle that continue throughout the book. I hope that the level of this book doesn’t drop off at the end of this arc because I can’t wait to see what shenanigans they come up with next to put the merc with a mouth through.
The Last pick this week is Legends of The Dark Knight #3. Currently in the Bat-world, after his long faceless absence in the New 52, the Joker is everywhere thanks to Death of the Family. Legends of the Dark Knight is no different, it is on board with the Joker obsession. Rather than focusing on the Joker, this story uses the Joker as a catalyst to make a point about the good that Batman does for Gotham. I think this is a nice change of pace compared to the usual dark place the Bats books take us. The letters shine a light from the shadows of Gotham on the good that Batman does. He is a symbol of fear for a city that only understands that, but the good in Gotham can see through his disguise. While Batman struggles to get his focus off the darkness of the Joker we are able to take a look at the bright side of Gotham. We don’t see the good in Gotham nearly enough and I’m often inclined to agree with Bane and Ra’s Al Ghul that Gotham deserves whatever it has coming to it. This issue may just make me rethink my position on the people of Gotham. I’d recommend this book to anyone since it is a one and done like the Legends of the Dark Knight books before it, and it’s also not in the New 52 continuity so anyone can pick it up and enjoy, and I advise you to do just that.
Each blockbuster villain these days appears to be trying to erase audiences’ memories of the last great antagonist, by going even more eccentric, unique, and disturbing than the previously established norm. I’ll examine the evolution from simple yet scary baddies like Owen Davian (Philip Seymor Hoffman, M:I:III) to the game-changer that was Heath Ledger’s Joker, as well as all the great villains he inspired including what’s to come in 2013.
Villains today out-banter the hero, are streets ahead with a master plan anticipating the protagonist’s every move, like to be captured (“it’s all according to plan“), live by their own, disturbing yet clear moral code, speak in weird voices, and nearly always enjoy their “work.”
I will not only take us through the most recent gem to grace the screen, SKYFALL’s Silvia (Javier Bardem), but beyond as well, looking ahead to what next summer’s blockbusters IRON MAN 3 and STAR TREK INTO DARKNESS have to offer.
First off, one nostalgic “childhood” favorite I nearly missed in Part 1:
1999 – Agent Smith (Hugo Weaving)
Okay, so he’s technically a computer program, which more-or-less makes him a machine, which eliminates him from this category (see Part 1 rules).
…
But the acting is so memorable…
So, I’m shoehorning the good Agent in.
Smith has a moment that is now the cornerstone of the modern villain; the intriguing yet twisted speech that delivers the character’s “philosophy” in a chilling manner. (Nearly all the villains we are looking at today have a great/creepy speech or monologue.)
It’s all about that virus talk he gives Morpheous:
“I’d like to share a revelation that I’ve had during my time here. It came to me when I tried to classify your species and I realized that you’re not actually mammals. Every mammal on this planet instinctively develops a natural equilibrium with the surrounding environment but you humans do not. You move to an area and you multiply and multiply until every natural resource is consumed and the only way you can survive is to spread to another area. There is another organism on this planet that follows the same pattern. Do you know what it is? A virus. Human beings are a disease, a cancer of this planet. You’re a plague and we are the cure.”
With Weaving’s expert delivery, you can feel the mix of hatred and jealousy oozing out of every line of the chilling speech. Now we know that all we are to this great baddie are annoying germs.
Expert writing like this combined with memorable acting are key ingredients for any worthy villain. Smith has similar exchanges with Neo and Cypher, all oozing a certain amount of evil that is hard to fake (don’t know what that says about Red Skull… I mean Hugo Weaving).
Now for…
Top Villains of the Slightly-Less-Early 21st Century (Modern Era)
I honestly didn’t know PSH had it in him, but goddamn is the man terrifying. Not so eccentric as much as the classic, cold, ruthless boss-type who has his help killed at the drop of a hat (or the stain of a shirt…).
Just. Plain. Scary.
“Who are you? What’s you’re name? Do you have a wife? A girlfriend? Because if you do, I’m gonna find her. I’m gonna hurt her. I’m gonna make her bleed, and cry, and call out your name. And then I’m gonna find you,and kill you right in front of her.”
The above dialogue is so good it’s almost like a reversal of the great TAKEN speech!
Between this threat and the intense interrogation scene of Ethan Hunt (Tom Cruise), Owen Davian is by far the strongest Mission: Impossible baddie. He is perhaps also the best example of classic “just-plain-scary” villainy in the past decade.
Best Villain of the 21st Century’s 1st decade? Yes. Yes, indeed.
2007 – Anton Chigurh (Javier Bardem), NO COUNTRY FOR OLD MEN
Almost no one in the US knew Javier Bardem before this role, but after seeing the Coen Bros. darkest yet greatest masterpiece (a Best Picture Oscar winner, none-the-less), it is undeniable that Bardem is one of the world’s greatest acting talents.
He made a bowl cut scary. Nuff’ said.
Though I am going to continue saying (writing) things, anyway.
Even Diabolical Foes Know Milk Keeps Bones Strong!
Terrifying like Davian, Anton is not short his share of eccentricities. From the cattle gun, to his coin toss (“friend-o”), to his very precise yet skewed moral code, Bardem really set the mold for the great antagonists of late. His taking the time to drink a glass of milk in the precisely paced movie is just one example of the extra details that make villains like this fun and memorable.
(Anton is not the only villain on this list who enjoys milk…)
Likewise, characters like Chigurh and The Joker are effective because they have a very strict set of rules or a precise yet skewed “moral code.” They stand by it, all their moves are dictated by it, it makes perfect sense to them, but is just off enough to scare the shit out of us.
It’s not about the money for Chigurh, it’s about honor, keeping your word, and getting the job you were paid to do done.
“This is what I’ll offer – you bring me the money and I’ll let her go. Otherwise she’s accountable, same as you. That’s the best deal you’re gonna get. I won’t tell you you can save yourself, because you can’t.”
Bardem’s fresh and scary antagonistic performance was rewarded with an Academy Award for best supporting actor, a trend that would continue for another year.
Always calm, cool, collected, and with a solution for everything, you do not want Chigurh on your tail.
Instead, Christopher Nolan and Heath Ledger chose the “grim jester” take on Batman’s arch-nemesis, making the Joker darker than ever before. The killer clown still had plenty of eccentricities, though his enjoyment in his work is curbed in comparison to Joker as seen in 1989’s BATMAN, THE ANIMATED SERIES, or the comics.
Ledger’s Joker builds on the aforementioned evolution of villains in the 21st century, basically defining many of the strongest that follow.
Everything about Joker was unique, from the way he talked to the way he walked. To the way he licked and smacked his lips. Even non-Batman fans were quoting the trailer months prior to release; “And here… we… go!”
“You’re just a freak in a mask… like me!”
Joker is a “better class of criminal” because his plans are always two to three steps ahead; something now common in today’s action films. His plans were so diabolical that they were never what they seemed, usually accounting for how Batman would respond to each play.
This included allowing himself to be captured, a “plan” used by many of the following villains on this list.
(Davian was even captured, and though it did not appear to be part of his plan, he escaped without much difficulty, giving him access to Ethan’s identity and wife. Anton is also in custody at the beginning of NO COUNTRY, though I can’t remember if there is any indication as to whether this was intentional or not.)
Despite my earlier criticism about his enjoyment with inducing mayhem, Ledger’s Joker does manage to have a fairly decent time: “I like this job! I like it!” The scenes were the Joker lightens up a bit (Why So Serious, Heath?) are the best, setting the standard for memorable villains to follow. Now, I was going to finish this blog here and now, but it has grown far too long as I write it. So, like Peter Jackson and his HOBBIT, I have decided to make the “Better Class Of Criminal” series into 3 parts.
The 3rd post should be out later today or tomorrow, covering all the great villains that follow 2008’s Joker, many sharing quite a lot in common with the grim jester and each-other. I’ll continue onward to three upcoming villains whose trailers suggest they follow this modern design of the antagonist (Mandarin from IRON MAN 3, anyone?).
Have you noticed a trend in your favorite blockbusters of late (well… “of late” meaning “the past 5 years or so…”)?
Are your villains more interesting? Do the actors portraying them have past Oscar nominations and/or can they overcome the action-movie stigma to achieve at least pipe-dreams of one? Are these bad guys crazier than normal? You know, more unique with a funny voice or passion for mayhem?
If you answered yes to any of those absurd questions, perhaps you, like me, feel that the past decade has produced some of the most memorable and unique villains in the history of cinema. (No, not just memorable because they’re recent, memorable because they’re so good it feels like they have some real staying power.)
Javier Bardem as Silva in SKYFALL
2012 alone has been particularly giving, including last weekend’s SKYFALL, anchored by villain Javier Bardem. I’d like to take this time in “movie villain history” to recall past favorite villains of mine and compare them to the current crop that catch audience’s eyes for their originality (like Bane… that is some really bizarre shit).
Patterns will quickly emerge, suggesting that these modern villains we love to love for their originality, actually share quite a bit in common with one another. It’s less that each breaks the mold, more that each fits the current mold; a mold that itself has evolved from what came before. Even the mold is not original, it has simply built on our past, perfecting the traits of a great villains past rather than inventing them.
My personal favorite antagonists from decades past range from those widely-considered classics to a few lesser appreciated gems (especially recently)*:
*I am a lover of film, but I am also only 24 years old, so I apologize if my naturally limited knowledge of films before the 70s cause me to leave out an obvious villain for this list. Likewise, I am writing this all in one night (instead of sleeping); I’m confident that later today I will be like “oh fuck, I can’t believe I forgot ___________!”
*Also, to set up some sort of limits as to what qualifies as a villain/antagonist/bad guy, I’ve decided to draw the line at live-action man. No sharks a la JAWS, dinosaurs a la JURASSIC PARK, no machines a la 2001: A SPACE ODYSSEY, and no animated baddies like Gollum. After all, though many (including myself) would argue three of the four preceding examples are incredibly emotive/iconic in their execution, are they really the same as an actor doin’ their thang’?
*Finally, to simplify shit even further, I eliminated any characters who may be imaginary, a la FIGHT CLUB.
TOP CLASSIC BADDIES
“No Mr. Bond, I expect you to die.”
1964 – Auric Goldfinger (Gert Frobe) – Really set the mold for the classic Bond villain better than DR. NO and FROM RUSSIA WITH LOVE had established before. Besides keeping a light and witty rapport with the hero, Goldfinger seems to take great pleasure in his own eccentricities, something we will see time and time again in the Bond universe and elsewhere.
It is this pleasure in action I am trying to drive home today, this aspect that is essential for an interesting antagonist today.
1977, 1980, 1983 – Darth Vader, uhhhh I’m not even gonna say what movie he’s from cause I’m insulted – Obvious choice. No one is more ruthless than him. None more iconic. He’ll death grip the shit out of his own men. And look great doing it. The guy to imitate when it comes to getting results from your henchmen.
And even back in his day we were using tricks like interesting voices and masks (again, see Bane) to give villains identity in a world full of ’em.
1981 – Dr. Rene Belloq (Paul Freeman), RAIDERS OF THE LOST ARK – Rene Belloq is my favorite type of villain, the doppelganger; that is, a baddie who is very similar to our hero/nearly the mirror opposite. Belloq and Indiana Jones are both archaeologists, peers in their field, but they differ in methods. As Belloq tells Jones, “I am but a shadowy reflection of you, it would take only a nudge to make you like me.”
1982 – Khan (Ricardo Montalban), STAR TREK II: WRATH OF KHAN – It never hurts to make it personal, not for the audience at least.
Not JAWS 3 or TAKEN-I-want-my-daughter personal. More like the villain feels as though the protagonist has personally wronged them, personal. So, rather than the good guy going on a rampage limited by what makes him a good guy, you have a sadistic madman who don’t give a shit ’bout no’body out to settle a score, and no one will stand in his way. When this happens, there are no Innocent and the world (and/or the universe) burns.
So is the case with Kahn who seeks revenge on Kirk for marooning him on a baron planet, and so will be the case with one of the top villains of 2012.
1987 – Joshua (Gary Busey) with an assist by Endo, LETHAL WEAPON – Joshua is perfect parts crazy and loyal as proved by the classic flame-to-arm scene. Besides, it’s hard to forget that crazy cop on crazy mercenary beat-down with Riggs (Mel Gibson). Joshua would also be considered a doppelganger for Riggs (noticing some patterns here?).
And as far as Endo goes, one need only quote Mr. Joshua, “Endo here has forgotten more about dispensing pain than you and I will ever know.”
Live or die by that reputation, Endo.
Live or die.
1988 – Hans Gruber, DIE HARD – Fine, I admit that so far, very few of my choice are controversial or unknown. Don’t worry, that comes later, like in the 90s where nostalgia clouds my judgement.
Characters popular in the 80s are in-proportionality represented on this list because it’s a personal favorite time period in cinema. Like today, villains were quirky and took great joy in their “work.” Gruber didn’t just have a killer, well thought-out master-plan; he also had fun! (Sound familiar?)
1989 – The Joker (Jack Nicholson), BATMAN – Really, who has more fun killing people than the Joker? The Joker is supposed to be having the time of his life, even when things don’t go according to plan. Jack doesn’t disappoint, though his version still pales in comparison to that of Mark Hamill. Goddamn it though if the man doesn’t commit.
1989 – The South African Consulate’s Minister of Affairs and his Henchmen, LETHAL WEAPON 2 – “Diplomatic Immunity,” really says it all, don’t it?
(Answer: “Yes, it don’t. It really don’t.”)
A little advice, don’t kill the hot South African chick Riggs is fucking AND THEN tell him you murdered his wife. That is, unless you want your house pulled down a mountain.
That shit’s just super personal, and Riggs goes the appropriate amount of ape shit, like 007 post-Vesper.
NOSTALGIA SETS IN: VILLAINS FROM MY FORMATIVE YEARS
1995 – Alec Trevelyan aka 006 aka Janus (Sean Bean), GOLDENEYE – There’s a reason 006 was/possibly is still my favorite Bond villain. Again, everything’s super-personal (he’s Bond’s old friend, plus Bond scarred him by “setting the timers for 3 instead of 6.” He knows MI6 and is another perfect example of a doppelganger (perhaps the most perfect as Bean was nearly hired as Bond). All the correct chips are in play, driven home by all the witty banter between “006” and 007, up until the end.
006 for a new
millennium006 shares quite a few similarities with the still to be discussed Silva from SKYFALL, and is certainty a precursor for the new villain. His past drives him a different direction than “For Queen and Country” Bond, feeling a similar need for revenge to that of Javier Bardem’s character.
1995 – John Doe (don’t wanna spoil the surprise), SEVEN – He’s certainly one of the most quirky/sadistic killers on film. And he knows how to deliver an unbelievable third act, important for any villain worth his salt (if that is even a saying).
Returning our attention to 006, while he’s always great, but it’s the combo of an incredibly strong introduction action scene and the finale showdown that cement his role in 007 history. Likewise, with an ending like that of SEVEN, I doubt we’ll forget this serial killer soon.
1997 – Edgar (Vincent D’Onofrio), MEN IN BLACK – Really, unlike anything else I’ve ever seen, D’Onofrio’s performance of a space roach in an “Edgar” suit still astounds. Certainly one of the most “out there” threats. Again, fun work with the acting and voice make for fun times at cinemas.
1998 – Don Rafeal Montero (Stuart Wilson) & Captain Love (Matt Letscher), THE MASK OF ZORRO – Double the doppelgangers, double the fun!
With old Zorro facing his old arch-nemesis (who just happened to accidentally murder his wife then intentionally -d’uh – steal his daughter) and new Zorro facing his brother’s killer, after years of training and dreams of revenge. Really, Nick Doll’s wet-dream.
From the director of the aforementioned GOLDENEYE and CASINO ROYALE, Martin Campbell, I like to think of MASK OF ZORRO as the movie Campbell made simple because he couldn’t, at that juncture, make a 007 movie. ZORRO follows all the rules of 007 from the detective work, to the “Bond” girl, to a madman with a country changing plot, Don Rafeal Montero, his lead henchman, Captain Love, and an epic, explosive finale.
2002 – Norman Osbourne (Willem Dafoe) aka The Green Goblin, SPIDER-MAN – “Work was murder”
Now, there’s an actor who chewed the scenery in the best way possible. Whether realistic or not, Dafoe’s approach to the over-the-top Green Goblin set the standard for modern comic book movie villains like those of the AVENGERS and DARK KNIGHT.
Limited by an expressionless mask, Dafoe does a lot with a little. His conversation with “the Goblin” is thing of super hero movie legend, making it ok for mechanical arms, black goo, sand, and lizards to talk to mad scientists in SPIDER-MAN sequels for years to come.
Talking to yourself is a unique place to go with your villain, and comics like Spider-Man nearly demand it. What is most important and fun about the character though is, again, the extreme joy felt by “Gobby” whilst terrorizing Spider-Man and New York. This really laid the groundwork for silver screen villains like Loki.
If they were to cast Norman Osbourne in the AMAZING SPIDER-MAN 2 tomorrow, I’d insist it remain Willem Dafoe. He embodied a comic character perfectly even before RDJ ever became Tony Stark.
We’ll continue this analysis of the modern blockbuster villain as derived from his aforementioned history next time on BREAKING GEEK in “A Better Class Of Criminal: Part II” including the final era of movie villains, “Adult” Life: Nearly Modern To Today… And Beyond!
Find out what Bane, Joker, and Silva all have in common!
Find out which villainous strategy is hot, hot hot! (clue: Joker, Bane, Loki, and Silva all recommend it!)
The key to any version of Batman, from the 90s animated show to Shumacher’s two disasters, is Police Commissioner James Gordon.
While Gordon is often painted as a bumbling cop who can’t get anything done without Batman, Batman: Year One, The Long Halloween, and Nolan’s two films present a very realistic Gordon who is as essential to Bruce Wayne’s fight against corruption as Batman himself.
As mentioned in Part 1 of this blog, Frank Miller’s Year One is just as much about James Gordon as it is about Batman/Bruce Wayne, if not more. After all, we do open and close the story with Gordon, not Bruce.
In The Dark Knight, Gordon shares the screen nearly as much as Bruce and Dent, but Begins is primarily Batman’s story, so when we do see Gordon, it is within the context of Wayne’s story.
In Batman Begins, we first meet Gordon as he comforts a young Bruce Wayne, still in shock that his parents have been murdered. In Year One, Gordon and Bruce arrive in Gotham on January 4th, both intent on making Gotham a less corrupt city.
In Year One, Gordon doesn’t know whether Batman is friend or foe for a good portion of the story. At one point, Gordon suspects the city’s young District Attorney, Harvey Dent to be Batman (a theme Nolan plays with in Dark Knight). After all, Dent seems to be the only other man in Gotham not on Falcone’s payroll. In fact, he appears to be the only other man trying to do anything about Gotham’s corruption problem.
Dent is already in contact with Batman at this point in Year One, actually hiding the Caped Crusader behind his desk when Gordon comes in looking for answers. This differs from both Long Halloween and Nolan’s The Dark Knight where Gordon makes the introduction between the two crimefighters.
Back to Year One, Gordon admires what Batman has done to confront corruption, but sees him not as much the possible alley as a dangerous vigilante. After all, though Batman has made a dramatic appearance in front of the Falcones, Leob, and the Mayor of Gotham, he is still a vigilante wearing a mask, breaking the law.
The two first come into contact when Gordon attempts to stop an out of control truck from running down a homeless woman. Gordon fails to stop the truck, but Batman successfully pushes the woman out of harm’s way at the last minute.
Following which, Gordon has a gun on Batman, but won’t shoot. His cop peers aren’t so understanding, shooting Batman as he escapes down an alley, even as Gordon says “Batman– went down that alley — there he is — saved that old woman… He…”
Batman is shot, escaping into a condemned building. Gordon tries to protect him, covering the building but telling GCPD “No one fires without my order –” unfortunately corrupt Commissioner Leob has already been burned by the Bat, and hence orders the building demolished, as it is due for demolition and nobody will get hurt, “except for a derelict or two.”
Much to Gordon’s horror, the building is bombed. Batman survives (Du’h) and is able to fight off the first group of officers sent in after him.
Not only does Batman evade the GCPD, he also happens to save one of Selina Kyle’s cats (Selina Kyle being a prostitute who is inspired by Batman to put on a mask and prance around Gothman at night). We have yet to see Selina Kyle (aka Catwoman) in a Nolan film, though she will be in The Dark Knight Rises. I will discuss her character in Year One and Long Halloween later, as her on screen version is likely to be a combination of the two, seeing Nolan and David S. Goyer’s love for incorporating elements of those two particular graphic novels.
Batman is only able to escape using the same device Nolan has him using in Batman Begins to evade the cops at Arkham Asylum; that is a device in his shoe that attracts thousands upon thousands of bats.
By the similar scene in Begins, Gordon and Batman are already acquainted, following Batman’s visit to his office and the capture of Carmine “The Roman” Falcone at the docks.
In Batman Begins, Wayne throws together a makeshift outfit with a ski mask and sneaks into Gordon’s office, sticking a stapler to the back of Gordon’s neck like a gun. (Also an homage to Batman’s first outing in Year One, before he was come to the symbol of the Bat.)
“Don’t turn around, you’re a good cop, one of the few,” leads Bruce. He wants to know what it will take to finally put Falcone behind bars. Gordon tells he he’ll need an honest judge and an honest D.A.
Of course, since this is before the introduction of Harvey Dent in Nolan’s films, the D.A. in question is Rachel Dawes, Bruce Wayne’s childhood friend and possible love interest.
“You’re just one man?” questions Gordon as Batman takes off.
“Now we’re two,” replies the Dark Knight.
Ra’s al Ghul’s words put into practice, Bruce is no longer just a lone masked vigilante. Unlike other iterations of Batman where Gordon has been less essential and intelligent, Nolan and Miller’s versions of Batman do not work in a void, they need honest people on the right side of the law to get the job done.
Gordon of course chases Batman from the building, not quite trusting the random man who held a “gun” to the back of his head. But, after Batman takes down Carmine Falcone at the docks, only then Gordon better trusts the Bat.
Gordon even lets the masked man show up at his personal residence, without too much worry.
“Storm’s coming.”
In Year One, Gordon doesn’t truly trust Batman until Batman saves his own son. In the graphic novel, Arnold Flass and commissioner Leob don’t take kindly to Gordon’s loyalty to the law, setting it up so The Roman kidnaps Gordon’s baby son, James. (They’ve also had Gordon beaten several times by this point in the story.)
Batman, again without costume because it is the middle of the afternoon, is able to help Gordon save his son. Gordon shoots the tire of the getaway vehicle, struggles with Falcone’s goon, only to have himself, his baby, and the henchmen fall off the bridge and into the river.
Wayne is able to catch baby James, saving his life, much as Nolan has him saving the life of Gordon’s son later The Dark Knight.
From this point on, Batman is never alone, Gordon and he are indeed “two.” Their story is intertwined until the end of both men, an end that is hinted at in the original teaser for Dark Knight Rises.
Year One ends with Gordon on the roof, thinking about his new alley:
“As for me — well, there’s a real panic on. Somebody’s threatened to poison the Gotham reservoir. Calls himself the Joker. I’ve got a friend coming who might be able to help. Should be here any minute.”
A very similar ending to that of Batman Begins, were Gordon unveils his new Bat Symbol and mentions a new villain with “a taste for the theatrical” like Batman.
Now I’m that much closer to discussing my favorite part of the Batman myth, Harvey Dent. And of course we still have to examine the themes of Batman Begins as they carry through Dark Knight and lead us right into Dark Knight Rises.
As I sit here, watching Batman Begins for the third time this week, I am amazed.
I’m not amazed that I can watch a movie three times in the same week, as I’m sure I’ve done the same with Fight Club and Raiders of the Lost Ark at some point in my development. I’m not even amazed that I actually enjoy a Batman movie after Batman & Robin mangled the brand.
I’m amazed that a comic book movie… hell… any mainstream Hollywood movie can be so well crafted, with such care and depth given to the film’s many themes and characters.
There have been plenty of great comic book adaptations over the years from Spider-Man to Iron Man, Captain America to Kick-Ass, but as good as those movies are, they don’t come anywhere near the caliber of Batman Begins and The Dark Knight.
Sure, Spider-Man nailed the superhero movie formula, and Iron Man duplicated it nicely, but Christopher Nolan’s Batman films aren’t just entertainment for the masses, they’re socially important films dealing with some lofty themes including fear, corruption, justice, and legend.
Though The Dark Knight is infamous for Heath Ledger’s performance and the sheer scope of the epic tragedy of Harvey Dent, Batman Begins is actually, in my opinion, the better written film of the two. For that reason and because it does come first chronologically, I will start with the 2005 film.
Having recently read Batman: Year One by Frank Miller and David Mazzucchelli and Batman: The Long Halloween and its followup Batman: Dark Victory by Jeph Loeb and Tim Sale, I have an entirely new appreciation for Nolan’s masterpieces (yes, I consider them even better than Inception or Memento).
Begins is also all the more interesting to watch after seeing the first two trailers for The Dark Knight Rises, as director/writer Christopher Nolan assures us that film will take the trilogy full circle back to Begins.
In Year One, Miller has Bruce Wayne returning to Gotham after twelve years, the same day that Police Lieutenant James Gordon arrives after being reassigned to the most corrupt city in the world. In Nolan’s movie, Gotham is also referred to, by Ra’s al Ghul, as the world’s “greatest city,” so I guess the best way to describe Batman’s hometown is New York meets Chicago.
From the beginning, Wayne and Gordon’s differences are apparent. Gordon arrives on a crowded train whilst Bruce flies in 1st class, met at the terminal by reporters. Gordon is met by his new, very corrupt partner, Arnold Flass.
Now, Nolan’s first Batman film is a sort of hybrid of Year One and Long Halloween with some of his own magic mixed in. In the film, Bruce meets Gordon when he is a child, after his parents are murdered in front of him. Gordon is the police officer who comforts Bruce, draping his father’s coat over his shoulders and telling him “it’s okay” as Commissioner Loeb tells them the good news, “we got him, son.” That is, they have apprehended, Joe Chill (I still think that name sounds like he’s a mascot who sells cigarettes to children). “Justice” has been done.
Likewise, Flass has been transformed from Miller’s all-american Green Beret trained giant of a man to a fat slob in Nolan’s film. Still, his role remains the same; he is Gordon’s corrupt partner, on Falcone’s payroll, one of the many cops on the take that cloud Gotham’s justice system.
Year One doesn’t go into Wayne’s preparation much, only showing him training on the grounds of Wayne manner, commenting how he’s waited eighteen years, but he’s still “not ready.”
“I’m not ready. I have the means, the skill — but not the method… No. That’s not true. I have hundreds of methods. But something’s missing, something isn’t right. I have to wait. I have to wait.”
The most valuable addition Nolan brings to Batman’s universe is tying all sorts of loose ends together. In Begins, we see where Wayne spent the years between the hit on Joe Chill and his return to Gotham. He has lived among the criminals, studied their methods. He was then trained by the Henri Ducard from the League of Shadows to be fight, be invisible, and to conquer his own fear.
Wayne returns to Gotham, in Begins on a private plane, aware will not simply be a vigilante, but something more.
As Ducard says to him when they first meet in Wayne’s jail cell:
“A vigilante is just a man lost in a scramble for his own gratification. He can be destroyed or locked up. But, if you make yourself more than just a man, if you devote yourself to an ideal, and if they can’t stop you, then you become something else entirely… Legend, Mr. Wayne.”
Fear is a theme in Year One, but Nolan brings it even more front and center in Batman Begins, making it the film’s most foremost theme.
In Year One, Bruce picks the bat as a symbol because he recalls it frightening him as a child.
“Without warning, it comes… crashing through the window of your study and mine… I have seen it before… somewhere… it frightened me… as a boy… frightened me… yes father. I shall become a bat.”
We see the incident in question in Begins, with young Bruce falling through a covered up well and into the batcave where he encounters hundreds of the creatures, tramatizing him for life… until the League helps him conquer such fear. The image is repeated throughout the first act of Begins from the play he sees with his parents to the bats that fly out of the chest during the League’s final test.
Just as the bat crashes through a window in Year One, bringing Bruce to his epiphany of the symbol he will use to put fear in the hearts of his enemies, in Begins a Bat gets into Bruce’s study as he researches which cops he can trust. Again, epiphany: the villains of Gotham will share his fear of bats.
Of course, by this point in the graphic novel, Bruce has already attempted to fight crime once, with a fake scar instead of a mask. It doesn’t go that well with Bruce barely making it home alive to see that bat crash through his father’s study.
He was right, he was not ready. Without the symbol of the Bat, without the fear he strikes in others, Bruce Wayne was not ready.
Now, one of the most striking differences between Year One and Batman Begins, is that the former is told from the point of view of Gordon and Bruce Wayne, whereas the movie mostly sticks us in Batman’s shoes. We see a scene or two from Gordon’s perspective, but it is generally Bruce Wayne’s film.
In future posts, I will go on to discuss The Dark Knight, where Nolan and co-story-writer David S. Goyer make James Gordon and Harvey Dent nearly as prominent as Batman.
In fact, by the time we get to Dark Knight, I would argue that the movie isn’t the story of the Batman vs. the Joker at all, but rather the tragedy of District Attorney Harvey Dent and the events he, Gordon, and Batman set in motion.
But, that is for another post, another night. I have much more to say about Nolan’s films, Year One, Long Halloween, and The Dark Knight Rises, so I hope you’ll return to Breaking Geek to delve into Batman with me.
At work I think about Dent, when I commute I think about Dent, when I’m having a conversation with you, I’m not listening, I’m thinking about Harvey Dent.
The White Night who fell from grace. A man, who just like Batman (and Liam Neeson’s Rhas A Gul), who was more important as a symbol than an individual.
I still intend to write about Dent in depth analyzing the character are presented in the Long Halloween comic and The Dark Knight film; Christopher Nolan and David S. Goyer confirmed was their primary influence on the highest grossing comic book movie of all the time was Long Halloween). Harvey’s not just a man; he’s a symbol. Corrupt Gotham’s only great hope.
But the more I thought about Dent, the more I realized nearly all the great comics are tragedies.
Start with Batman. His parents were murdered in front of him, but instead of becoming a serial killer like all the characters on Dexter with childhood trauma, the murder and lack of personal revenge drove him to the brink of insanity.
What kind of person dresses like a Bat?
Crazy people, that’s who.
Bruce Wayne will never have a normal life (not even a life normal for a billionaire). He’s Batman until someone else can take his place; Batman until Batman is no longer needed.
Even if retirement does happen, Bruce Wayne no longer exists. He has been Batman since the day his parents were shot.
Batman’s greatest tragedy is that Batman will always be needed. Ironically, his escalating the crime fighting game by becoming a masked vigilante only leads to other villains with “a taste for theatrical.”
Then, there’s Superman. He lost his homeworld, but his most tragic aspect is that he just may be the reason supervillains and aliens flock to Metropolis (as explored in the New 52 Superman). Which begs the question, was Metropolis actually safer before Superman?
Spider-Man is also an interesting case. Like Batman, he wants to prevent future shootings of people like Uncle Ben. Of course, more so than Wayne, Peter Parker holds himself responsible for his uncle’s death, a death that shook him into embracing the gift science gave him.
Yet Spider-Man too, with carry that guilt and responsibility his entire life. No matter how many villains he aprehends, he’ll always haunted by Uncle Ben.
Spider-Man, like Batman, has given his life to those in need. There is very little time for a normal, happy life with a family. Parker’s wife and children would always be a target, assuming his secret identity is comprimised, which does happen from time to time.
Spidey also has other deaths that weigh heavy on him, like those of Gwen Stacy and her father, Captain Stacy.
Then there’s Captain America, our countries first super soldier. I’m not sure how the comics handle it, but in the film Captain America: The First Avenger, Steve Rogers ends up frozen only to be thawed in the present. Everyone he knew is dead, including Peggy, to whom he promised a dance.
Capt.’s tragedy is that he will forever be a man out of time and place. I man with American ideals that no longer exist.
There are plenty of other examples I could throw out here, but I think I hit most the biggest tragic heroes and I’m gettin’ sleepy.
Got to get up at a reasonable hour to head to Mile High comics for new comic wednesday… and Avengers Vs. X-Men Issue #1.
Keep watching Breaking Geek for future blogs including my more in depth look at Harvey Dent.
I do apologize for the deviantArt watermark, but I thought these pieces were so damn cool I’d share them with my fellow geeks anyway. The art may be fairly familiar in pose (especially Iron Man), but the style really grabs me, you know?
Let’s not stand on ceremony here, Mr. Wayne.
The shadows betray you, because they belong to me!
Which turns me to another Marvel NOW book, one thats got me excited AND giggling, Deadpool #3 continues the ridiculous story of zombie American presidents. What an opening arc it has been, this is exactly what Deadpool should be; Absurd fun with wicked originality. Never have I more enjoyed watching Nixon get punched in the face, which is saying something. Another great bit about the first 3 Deadpool issues so far is the covers, each one looks great and provides the first funny tickle that continue throughout the book. I hope that the level of this book doesn’t drop off at the end of this arc because I can’t wait to see what shenanigans they come up with next to put the merc with a mouth through.
The Last pick this week is Legends of The Dark Knight #3. Currently in the Bat-world, after his long faceless absence in the New 52, the Joker is everywhere thanks to Death of the Family. Legends of the Dark Knight is no different, it is on board with the Joker obsession. Rather than focusing on the Joker, this story uses the Joker as a catalyst to make a point about the good that Batman does for Gotham. I think this is a nice change of pace compared to the usual dark place the Bats books take us. The letters shine a light from the shadows of Gotham on the good that Batman does. He is a symbol of fear for a city that only understands that, but the good in Gotham can see through his disguise. While Batman struggles to get his focus off the darkness of the Joker we are able to take a look at the bright side of Gotham. We don’t see the good in Gotham nearly enough and I’m often inclined to agree with Bane and Ra’s Al Ghul that Gotham deserves whatever it has coming to it. This issue may just make me rethink my position on the people of Gotham. I’d recommend this book to anyone since it is a one and done like the Legends of the Dark Knight books before it, and it’s also not in the New 52 continuity so anyone can pick it up and enjoy, and I advise you to do just that.
Villains today out-banter the hero, are streets ahead with a master plan anticipating the protagonist’s every move, like to be captured (“it’s all according to plan“), live by their own, disturbing yet clear moral code, speak in weird voices, and nearly always enjoy their “work.”
1999 – Agent Smith (Hugo Weaving)
With Weaving’s expert delivery, you can feel the mix of hatred and jealousy oozing out of every line of the chilling speech. Now we know that all we are to this great baddie are annoying germs.
2006 – Owen Davian (Philip Seymor Hoffman), M:I:III
Bardem’s fresh and scary antagonistic performance was rewarded with an Academy Award for best supporting actor, a trend that would continue for another year.
With a lot to live up to, due to the already classic Jack Nicholson portrayal of the joker (included on my “Top Classic Bad Guys” list from the previous blog), fan-boys were certain pretty-boy Ledger could not pull off the “crown prince of crime.”
Despite my earlier criticism about his enjoyment with inducing mayhem, Ledger’s Joker does manage to have a fairly decent time: “I like this job! I like it!” The scenes were the Joker lightens up a bit (Why So Serious, Heath?) are the best, setting the standard for memorable villains to follow.
Now, I was going to finish this blog here and now, but it has grown far too long as I write it. So, like Peter Jackson and his HOBBIT, I have decided to make the “Better Class Of Criminal” series into 3 parts.
*Also, to set up some sort of limits as to what qualifies as a villain/antagonist/bad guy, I’ve decided to draw the line at live-action man. No sharks a la JAWS, dinosaurs a la JURASSIC PARK, no machines a la 2001: A SPACE ODYSSEY, and no animated baddies like Gollum. After all, though many (including myself) would argue three of the four preceding examples are incredibly emotive/iconic in their execution, are they really the same as an actor doin’ their thang’?
1981 – Dr. Rene Belloq (Paul Freeman), RAIDERS OF THE LOST ARK – Rene Belloq is my favorite type of villain, the doppelganger; that is, a baddie who is very similar to our hero/nearly the mirror opposite. Belloq and Indiana Jones are both archaeologists, peers in their field, but they differ in methods. As Belloq tells Jones, “I am but a shadowy reflection of you, it would take only a nudge to make you like me.”
1987 – Joshua (Gary Busey) with an assist by Endo, LETHAL WEAPON – Joshua is perfect parts crazy and loyal as proved by the classic flame-to-arm scene. Besides, it’s hard to forget that crazy cop on crazy mercenary beat-down with Riggs (Mel Gibson). Joshua would also be considered a doppelganger for Riggs (noticing some patterns here?).
1995 – Alec Trevelyan aka 006 aka Janus (Sean Bean), GOLDENEYE – There’s a reason 006 was/possibly is still my favorite Bond villain. Again, everything’s super-personal (he’s Bond’s old friend, plus Bond scarred him by “setting the timers for 3 instead of 6.” He knows MI6 and is another perfect example of a doppelganger (perhaps the most perfect as Bean was nearly hired as Bond). All the correct chips are in play, driven home by all the witty banter between “006” and 007, up until the end.
1997 – Edgar (Vincent D’Onofrio), MEN IN BLACK – Really, unlike anything else I’ve ever seen, D’Onofrio’s performance of a space roach in an “Edgar” suit still astounds. Certainly one of the most “out there” threats. Again, fun work with the acting and voice make for fun times at cinemas.
1998 – Don Rafeal Montero (Stuart Wilson) & Captain Love (Matt Letscher), THE MASK OF ZORRO – Double the doppelgangers, double the fun!
The key to any version of Batman, from the 90s animated show to Shumacher’s two disasters, is Police Commissioner James Gordon.
In Batman Begins, we first meet Gordon as he comforts a young Bruce Wayne, still in shock that his parents have been murdered. In Year One, Gordon and Bruce arrive in Gotham on January 4th, both intent on making Gotham a less corrupt city.
The two first come into contact when Gordon attempts to stop an out of control truck from running down a homeless woman. Gordon fails to stop the truck, but Batman successfully pushes the woman out of harm’s way at the last minute.
Much to Gordon’s horror, the building is bombed. Batman survives (Du’h) and is able to fight off the first group of officers sent in after him.
Gordon of course chases Batman from the building, not quite trusting the random man who held a “gun” to the back of his head. But, after Batman takes down Carmine Falcone at the docks, only then Gordon better trusts the Bat.
As I sit here, watching Batman Begins for the third time this week, I am amazed.
Having recently read Batman: Year One by Frank Miller and David Mazzucchelli and Batman: The Long Halloween and its followup Batman: Dark Victory by Jeph Loeb and Tim Sale, I have an entirely new appreciation for Nolan’s masterpieces (yes, I consider them even better than Inception or Memento).
Likewise, Flass has been transformed from Miller’s all-american Green Beret trained giant of a man to a fat slob in Nolan’s film. Still, his role remains the same; he is Gordon’s corrupt partner, on Falcone’s payroll, one of the many cops on the take that cloud Gotham’s justice system.
As Ducard says to him when they first meet in Wayne’s jail cell:
We see the incident in question in Begins, with young Bruce falling through a covered up well and into the batcave where he encounters hundreds of the creatures, tramatizing him for life… until the League helps him conquer such fear. The image is repeated throughout the first act of Begins from the play he sees with his parents to the bats that fly out of the chest during the League’s final test.
Now, one of the most striking differences between Year One and Batman Begins, is that the former is told from the point of view of Gordon and Bruce Wayne, whereas the movie mostly sticks us in Batman’s shoes. We see a scene or two from Gordon’s perspective, but it is generally Bruce Wayne’s film.
Spider-Man is also an interesting case. Like Batman, he wants to prevent future shootings of people like Uncle Ben. Of course, more so than Wayne, Peter Parker holds himself responsible for his uncle’s death, a death that shook him into embracing the gift science gave him.
Capt.’s tragedy is that he will forever be a man out of time and place. I man with American ideals that no longer exist.
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