Film Face-Off: The Batman vs. The Dark Knight
Time for a curveball! Up to this point, I’ve solely focused on dissecting individual films and extracting the message(s) and lesson(s) they have to share with their audiences. However, I feel the urge to (temporarily) change this formula up, in part because a movie just came out that features one of my favorite story characters of all time… Alfred Pennyworth.
Well… no, of course, I’m not talking about Alfred, but instead his orphaned dependent, Bruce Wayne. I’ve been seeing a lot of articles posted in the trades and elsewhere that pit THE BATMAN against THE DARK KNIGHT. Which film is better? Is there a clear winner? Does Batt-inson do a better job than Bale? These are the types of debates I live for, so I can’t help but insert myself into this awe-inspiring showdown.
So, here I have developed a novel concept that I will occasionally undertake on this platform: Film Face-Offs. This will involve comparing two similar movies and discerning which reigns supreme from the perspective of writing, filmmaking, so on.
Yet, as always, we’re going to approach such an endeavor via unmethodical means. We’re not going to determine which film is cooler, sleeker, prettier, or anything like that. Instead, we shall focus on the 3 aspects that determine the quality of a film, in my humble opinion: Character, Plotting, and Elements.
Due to the complexity of each respective film, and in this case, the complexity of each respective Batman film, we’re going to divide “Character” into 3 buckets: Bruce Wayne, Batman, and everyone else. We’re also going to divide “Story” into the following: narrative and themes. Elements will apply to deeper specifics of each film: music, world-building, tone, and so on.
So! Let us begin this dangerous endeavor of ours. Sit down and buckle up, because from this point forward, the controversy begins…
The Universal Truth
Ok, addressing the obvious without getting too deep into the weeds here… both films are great. They truly are. Each is well made, immersive, meticulous, passionate. And god I love this, because Batman has actually had so many great pieces of entertainment made about him (films, tv, video games, etc.) and it’s a genuine pleasure to see that trend continue. If only they could do the same with Superman… but I digress…
Argument #1: Bruce Wayne
Now comes the divisiveness, and that’s perfectly acceptable. I view debate as a way to not necessarily convince somebody else about whatever it is that you believe, but rather, to present an argument and analyze how your audience responds to it. So everything that follows from here isn’t me trying to enforce my idea upon you, but instead, it’s me presenting to you my idea and seeing how you respond.
And this first idea, truthfully, is the most cut-and-dry of them all. Bale’s Bruce Wayne is incredibly fleshy, torn apart by his love for a woman subsumed by the shadow of his cape and cowl. His love for Rachel Dawes is organic and well-developed. Following her death, we witness a changed version of Bruce, one riddled with grief and regret, until in his final act, such emotions are funneled into a heroic moment that perfectly encapsulates the arc of this billionaire playboy philanthropist.
Pattinson’s Bruce Wayne is a ghost hiding behind an emo haircut and a cold stare that shoots bullets through anyone who attempts to communicate with him. He’s broken, abandoned, hopeless, and void of self-worth. His Bruce Wayne might as well not exist, because there are no moments where he interacts with anyone meaningfully, apart from his butler. There’s not much to conclude here apart from the fact that there isn’t much Bruce Wayne here at all.
Winner: The Dark Knight
Argument #2: Batman
Bale’s take on the titular hero is dependent upon his portrayal of Bruce Wayne. The Dark Knight is nothing without his surplus of toys, as his fighting style is concise, effective, yet unsuspenseful. This partially comes as a benefit to Wayne’s own development, though it also results in a version of Batman that doesn’t always differentiate himself.
Bale’s Dark Knight thrives when accessing Bruce Wayne’s treasure trove of gizmos: the Tumbler, the Batpod, the Sonar Computer. Gadgets are Bale’s calling card, and while this makes his character not as imposing on the surface, it fits perfectly with his Bruce. Yet, only acceptably with his Batman.
Pattinson is The Batman. Moments of Bruce Wayne are cast aside for an exploration of a side of Batman that film has typically chosen to neglect: the “World’s Greatest Detective” thread. Seeing Pattinson serve as both a fighter and an investigator is not only refreshing, but undeniably riveting.
Pattinson is a tough combatant who fights with grace without pulling his punches. Then, on a moment’s notice, he reverts to analyzing puzzles, breaking down sequences, and piecing together story beats that culminate into a more imposing narrative endgame.
Come the close, Pattinson’s Batman evolves from a Being of Vengeance to a Being of Hope. Such a drastic change from negative emotion to positive emotion is purely gripping, and it makes logical sense when contextualized in the framework of his Batman’s arc. This transformation is a rarity in Batman films and one that is happily welcomed.
Winner: The Batman
Argument #3: Everyone Else
For the Dark Knight, Commissioner Gordon, Rachel Dawes, and Alfred Pennyworth are suitable add-ons to Bale’s titular virtuoso; yet, the side stars of the film are what push it over the top. Heath Ledger’s Joker needn’t require justification: the man is magnificent, completely immersed, and elevated this movie from picaresque to a genuine masterpiece.
Yet, it is Harvey Dent who ties the film’s narrative and themes together. The plight of the hero is central to the Dark Knight, and this is at its best when illustrated around Gotham’s scarred district attorney. Dent is a wunderkind, but everyone has a weakness, and the fragility of the district attorney’s heart and soul make him an easy, vulnerable target to the merciless.
Dent also delivers one of the greatest lines in cinematic history, “You either die a hero or live long enough to see yourself become the villain.” This is as much the Dark Knight’s mantra as it is Dent’s, a clever bit of foreshadowing that applies to multiple characters in the film. The conflict between Batman and Joker serves as the highlight reel for this motion picture, but it's Dent’s personal and professional endeavors, in conjunction with his conclusive plight, that connects every sequence together with such laudable ease.
The Batman’s Selina Kyle is the standout among her contemporaries, though it feels as if this outing is but a piece of her journey. She’s not fully Catwoman in The Batman, as she attempts to find her footing in a world that treats her with cruelty whether or not she’s wearing her mask. Her relationship with Carmine Falcone is curious at first, though grows on you as the story progresses.
Penguin is another strong side piece, but again, he feels more like an appetizer in this outing. It will be peculiar to see how he operates in the chair vacated by Falcone, and how his own family history will tie into the built-up backstory of this version of Gotham City.
Yet, everyone’s focus should revert to the Riddler, and while I wanted desperately to place his outing on the same level as Ledger’s Joker, such a choice would be a grave injustice. Riddler morphs from a political idealist into a rageful young man with a personal vendetta. Neither of these personas are who the Riddler really is: he’s meant to seek to best Batman with intellectual prowess more so than an overwhelming onslaught of chaos (that is reserved for a separate Batman villain).
Riddler is acceptable in The Batman, don’t get me wrong, but to think that he does enough to match the villainous outings delivered in the Dark Knight is shameful, if not laughable.
Winner: The Dark Knight
Argument #4: Narrative
The Dark Knight’s story is a curious paradox: it is as structured as it is chaotic. The entirety of the film is a struggle between an unstoppable force and an immovable object; in between, we get to witness the fallout of this struggle, those that perished because of it, and how others react to this.
It’s not necessarily a simple structure, however, because the writing maintains its agility throughout, jumping from Bruce’s arc, to Batman’s arc, to Joker’s and Dent’s arcs, to the general arc of Gotham City, and how a metropolis of tens of millions of people responds to the murderous antics of a colorful terrorist. Agility in writing is an underrated trait, and to see it pulled off in such a dense story is quite remarkable.
The Batman embarks with a thunderous bang, setting up Batman, Riddler, and Gotham City in a matter of ten minutes; I believe that these ten minutes should be taught in every screenwriting class around the world, in order to demonstrate how to set up hero, villain, and setting efficiently.
Yet, such a strong opening muddles over time as the script succumbs to troughs of exposition, culminating in a sloppy third act that is undeniably beautiful, haunting, and overstuffed. What is designed to be film noir shifts to being a little brother to the Dark Knight, and this is a truly disappointing detour.
Let the end of The Batman serve as a cautionary tale highlighting that, sometimes, it’s ok to think smaller, both for the sake of quality and for the sake of the audience’s general enjoyment.
Winner: The Dark Knight
Argument #5: Themes
The Dark Knight is a Shakesperean tragedy. Thus, it adopts many of the same mantras and ideas that the classic bard invented and implemented.
Much of this harkens back to Dent’s earlier line, but it’s the very idea of “Plight of the Hero” that underscores the Dark Knight’s message. Both Batman and Dent succumb to this, though each via different paths: Dent succumbs to his darker demons, while Batman sacrifices his better angels for the overall improvement of societal well-being. The Dark Knight is a story about the Death of Batman, which is a truth that I’m surprised more people don’t ascertain.
The Batman, however, goes down an opposite road. Whereas The Dark Knight illustrates downfall, The Batman outlines the ascension of a wandering nomad into a motivated champion. Choosing to close with positive emotion over negative emotion is, often, the way to go, but this is only when the end of such a story is undeniably excellent.
This is close… when comparing thematics, so much of it harkens back to the conclusion of the story. Finishing on a limp leg is equivalent to barely finishing at all, and while the close to The Batman is perfectly acceptable and, for the most part, effective, comparing it to the ending of the Dark Knight is like comparing Rembrandt’s Stone Operation to Da Vinci’s Salvator Mundi.
Winner: The Dark Knight
Argument #5: Elements
It may not be fair to lump all the other aspects of a film under one ginormous umbrella, but for the sake of time and space, I’m going to do it anyway.
Very few soundtracks can rival both the energizing and dread-inducing chords that synchronously flow through Hans Zimmer’s Dark Knight score. This is coupled with some truly riveting shots that substantiate the film’s stellar cinematography. Regarding tone, the Dark Knight is bleak, which is fitting because the story is a cautionary tale that closes with a depressing, though hopeful, end shot.
The Batman comes across as a masterclass in visuals. The film’s Gotham City is void of lightbulbs, and rain seems to be in every daily forecast, but this fits the shadowy, vengeful tone that the movie embarks with. If the Dark Knight is visually stimulating, then The Batman is visually breathtaking, compiling a collection of shots that are horrifyingly beautiful. While the score may not match Zimmer’s work, it evokes a separate set of feelings that are more so focused on highlighting the heroism of Batman and the fleshiness of the man underneath the mask.
Winner: The Batman
Victor & Final Thoughts
The Batman is a visceral experience, though its narrative cannot match that posed by the Dark Knight.
Batman films depend upon evolution on three fronts: Bruce Wayne, Batman, and Gotham City. The Dark Knight checks each of these boxes, while the Batman satisfyingly checks two of them. Whereas The Batman flounders in its third act, the Dark Knight ascends, serving as the culmination of all the pent-up conflict, themes, and tension building up to an enchanting climax that is as impactful as it is haunting.
While I respect and enjoy all that The Batman does, it falls a tier below The Dark Knight, though each film exists respectably as master-classes encompassing an increasingly overstuffed genre.
Film-Face Off Victor: The Dark Knight
