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Batman (1989 film)
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Batman
Batman ver2.jpg
Theatrical release poster

Directed by
Tim Burton
Produced by
Peter Guber
Jon Peters
Benjamin Melniker
Michael Uslan
Screenplay by
Sam Hamm
Warren Skaaren
Story by
Sam Hamm
Based on
Batman
 by Bill Finger
Bob Kane
Starring
Jack Nicholson
Michael Keaton
Kim Basinger
Robert Wuhl
Pat Hingle
Billy Dee Williams
Michael Gough
Jack Palance
Music by
Danny Elfman
Cinematography
Roger Pratt
Editing by
Ray Lovejoy
Studio
PolyGram Filmed Entertainment
 The Guber-Peters Company
Distributed by
Warner Bros.
Release dates
June 23, 1989 (United States)

Running time
126 minutes
Country
United States
Language
English
Budget
$48 million
Box office
$411,348,924[1]
Batman is a 1989 American superhero film directed by Tim Burton and produced by Jon Peters, based on the DC Comics character of the same name. It is the first installment of Warner Bros.' initial Batman film series. The film stars Jack Nicholson, Michael Keaton in the title role, Kim Basinger, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, and Jack Palance. In the film, Batman deals with the rise of a costumed criminal known as "The Joker".
After Burton was hired as director in 1986, Steve Englehart and Julie Hickson wrote film treatments before Sam Hamm wrote the first screenplay. Batman was not greenlit until after the success of Burton's Beetlejuice (1988). Numerous A-list actors were considered for the role of Batman before Keaton was cast. Keaton's casting caused a controversy since, by 1988, he had become typecast as a comedic actor and many observers doubted he could portray a serious role.[2] Nicholson accepted the role of the Joker under strict conditions that dictated a high salary, a portion of the box office profits and his shooting schedule. The tone and themes of the film were influenced in part by Alan Moore's The Killing Joke and Frank Miller's The Dark Knight Returns.[2]
Filming took place at Pinewood Studios from October 1988 to January 1989. The budget escalated from $30 million to $48 million, while the 1988 Writers Guild of America strike forced Hamm to drop out. Uncredited rewrites were performed by Warren Skaaren, Charles McKeown and Jonathan Gems.
Batman was a critical and financial success, earning over $400 million in box office totals. The film received several Saturn Award nominations and a Golden Globe nomination, and won an Academy Award. It also inspired the equally successful Batman: The Animated Series, paving the way for the DC animated universe, and has influenced Hollywood's modern marketing and development techniques of the superhero film genre.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Casting
4.3 Filming
4.4 Design
4.5 Music
5 Marketing
6 Reception 6.1 Box office
6.2 Critical reaction
6.3 Legacy
6.4 Home video
7 References
8 Further reading
9 External links

Plot
The mayor of Gotham City orders district attorney Harvey Dent (Billy Dee Williams) and Commissioner Gordon (Pat Hingle) to increase police activity and combat crime in preparation for the city's 200th anniversary. Newspaper reporter Alexander Knox (Robert Wuhl) and photojournalist Vicki Vale (Kim Basinger) begin to investigate reports of an elusive dark vigilante nicknamed "Batman", who is also targeting criminals in an effort to clean up the city.
Mob boss Carl Grissom (Jack Palance), who has already been targeted by Dent, discovers his mistress is involved with his second-in-command, Jack Napier (Jack Nicholson). With the help of corrupt policeman Max Eckhardt (William Hootkins), Grissom sets up Napier to be murdered during a raid at the Axis Chemicals plant. During the ensuing shootout, Eckhardt is killed by Napier after which Batman suddenly appears. The two struggle, and Napier is accidentally knocked into a vat of chemical waste. Batman flees, and Napier is thought to be dead.
Batman is in actuality billionaire industrialist Bruce Wayne (Michael Keaton), an orphan who lives in the large mansion Wayne Manor with his butler Alfred Pennyworth (Michael Gough). Bruce later meets and falls for Vicki at a fundraiser, and the two begin a relationship. Napier is revealed to have survived the accident. Following a botched attempt to repair physical damage from exposure to chemical waste, Napier is horribly disfigured with chalk-white skin, emerald-green hair and a permanent ruby-red grin. Calling himself "The Joker", he kills Grissom and usurps his criminal empire, making the Axis plant his headquarters.
The Joker begins to spread terror in the city, first by lacing hygiene products with a deadly chemical known as "Smilex", which causes victims to laugh to death when used in certain combinations. The Joker then sets a trap at the Gotham Museum of Art for Vicki, and he and his henchmen vandalize the surrounding works of art. Batman arrives and rescues Vicki, and the pair escape in the Batmobile. Batman gives information about Smilex to Vicki so she can warn the city via Gotham newspapers about the poisoned products.
The Joker begins plans to eliminate Batman. After recalling The Joker earlier asking him "Have you ever danced with the devil by the pale moonlight?" and remembering hearing the same quote as a child, Bruce discovers that The Joker (as Napier) is also the man who murdered his parents. Vicki suddenly appears in the Batcave, having been let in by Alfred. After avouching himself to Vicki, Bruce—as Batman—leaves to destroy the Axis Chemical plant. Meanwhile, planning to use poison gas to murder citizens, The Joker lures the townspeople to a nighttime parade with a promise to give away $20 million in cash. Batman arrives on the scene and saves Gotham City from the attack, but The Joker kidnaps Vicki and takes her to the top of Gotham City's Cathedral.
Batman pursues the two, and at the top of the dusty edifice, the two adversaries confront each other in single combat. When The Joker attempts an escape via a helicopter, Batman secures The Joker's leg to a heavy stone sculpture, causing The Joker to fall from the helicopter and plummet to his doom. Following The Joker's death, Commissioner Gordon unveils the Bat-Signal along with a note from Batman read by Harvey Dent, promising to defend Gotham whenever crime strikes again.
Cast
Michael Keaton as Bruce Wayne/Batman
Jack Nicholson as Jack Napier/The Joker
Kim Basinger as Vicki Vale
Robert Wuhl as Alexander Knox
Pat Hingle as Commissioner Gordon
Billy Dee Williams as Harvey Dent
Michael Gough as Alfred Pennyworth
Jack Palance as Carl Grissom
Jerry Hall as Alicia Hunt
Tracey Walter as Bob the Goon
Lee Wallace as Mayor Borg
William Hootkins as Lt. Max Eckhardt
Hugo E. Blick as Young Jack Napier
Charles Roskilly as Young Bruce Wayne
David Baxt as Thomas Wayne
Sharon Holm as Martha Wayne
Themes



 "The duel of the freaks"[2]
When discussing the central theme of Batman, director Tim Burton explained, "the whole film and mythology of the character is a complete duel of the freaks. It's a fight between two disturbed people", adding that "The Joker is such a great character because there's a complete freedom to him. Any character who operates on the outside of society and is deemed a freak and an outcast then has the freedom to do what they want... They are the darker sides of freedom. Insanity is in some scary way the most freedom you can have, because you're not bound by the laws of society".[2]
Burton saw Bruce Wayne as the bearer of a double identity, exposing one while hiding the reality from the world.[2] Burton biographer Ken Hanke wrote that Bruce Wayne, struggling with his alter-ego as Batman, is depicted as an antihero. Hanke felt that Batman has to push the boundaries of civil justice to deal with certain criminals, such as the Joker.[3] Kim Newman theorized that "Burton and the writers saw Batman and the Joker as a dramatic antithesis, and the film deals with their intertwined origins and fates to an even greater extent".[4]
A visual motif is present in the scene of Batman's first major act of vigilantism at Axis Chemicals, wherein he is carefully framed so that the single word AXIS, in gigantic red neon letters, looms over him, comparing his acts to those of the totalitarian governments of World War II and thus implying that the dangers of these actions include the transformation of Jack Napier into the Joker.[3] Batman also conveys trademarks found in 1930s pulp magazines, notably the design of Gotham City stylized with Art Deco design.[5] Richard Corliss, writing for Time, observed that Gotham's design was a reference to films such as Metropolis (1927) and The Cabinet of Dr. Caligari (1920). "Gotham City, despite being shot on a studio backlot", he continued, "is literally another character in the script. It has the demeaning presence of German Expressionism and fascist architecture, staring down at the citizens."[6] Hanke further addressed the notions of Batman being a period piece, in that "The citizens, cops, people and the black-and-white television looks like it takes place in 1939"; but later said: "Had the filmmakers made Vicki Vale a femme fatale rather than a damsel in distress, this could have made Batman as a homage and tribute to classic film noir."[7] Portions of the climax pay homage to Vertigo.[8]
Production
Development



"I was never a giant comic book fan, but I've always loved the image of Batman and the Joker. The reason I've never been a comic book fan — and I think it started when I was a child — is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved The Killing Joke, because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable."
—Tim Burton[9]
After the financial success of Pee-wee's Big Adventure (1985), Warner Bros. hired Tim Burton to direct Batman. Burton had then-girlfriend Julie Hickson write a new 30-page film treatment, feeling the previous script by Tom Mankiewicz was campy. The success of The Dark Knight Returns and The Killing Joke rekindled Warner Bros.' interest in a film adaptation. Burton was initially not a comic book fan, but he was impressed by the dark and serious tone found in both The Dark Knight Returns and The Killing Joke.[2] Warner Bros. enlisted the aid of Steve Englehart to write a new treatment in March 1986.[10] It included the Joker and Rupert Thorne as the main villains, with a cameo appearance by the Penguin. Silver St. Cloud and Dick Grayson were key supporting roles. It followed the similar storyline from Englehart's own Strange Apparitions (ISBN 1-56389-500-5). Warner Bros. was impressed, but Englehart felt there were too many characters. He removed the Penguin and Dick Grayson in his second treatment, finishing in May 1986.[10]
Burton approached Sam Hamm, a comic book fan, to write the screenplay.[11] Hamm decided not to use an origin story, feeling that flashbacks would be more suitable and that "unlocking the mystery" would become part of the storyline.[12] He reasoned, "You totally destroy your credibility if you show the literal process by which Bruce Wayne becomes Batman."[13] Hamm replaced Silver St. Cloud with Vicki Vale and Rupert Thorne with his own creation, Carl Grissom. He completed his script in October 1986, which demoted Dick Grayson to a cameo rather than a supporting character.[14] One scene in Hamm's script had a young James Gordon on duty the night of the murder of Bruce Wayne's parents. When Hamm's script was rewritten, the scene was deleted but retaken to Batman Begins.[15]
Warner Bros. was less willing to move forward on development, despite their enthusiasm for Hamm's script, which Batman co-creator Bob Kane greeted with positive feedback.[2] Hamm's script was then bootlegged at various comic book stores in the United States.[12] Batman was finally given the greenlight to commence pre-production in April 1988, after the success of Burton's Beetlejuice (1988).[2] When comic book fans found out about Burton directing the film with Michael Keaton starring in the lead role, controversy arose over the tone and direction Batman was going in.[16] Hamm explained, "they hear Tim Burton's name and they think of Pee-wee's Big Adventure. They hear Keaton's name and they think of any number of Michael Keaton comedies. You think of the 1960s version of Batman, and it was the complete opposite of our film. We tried to market it with a typical dark and serious tone, but the fans didn't believe us."[12] To combat negative reports on the film's production, Batman co-creator Bob Kane was hired as creative consultant.[17]
Casting
Parallel to the Superman casting, a who's who of Hollywood top stars were considered for the role of Batman, with the likes of Mel Gibson, Kevin Costner, Charlie Sheen, Pierce Brosnan, Tom Selleck and Bill Murray being considered.[11][18] Tim Burton was pressured to cast an obvious action movie star.[2] Producer Jon Peters favored Keaton, arguing he had the right "edgy, tormented quality." Having directed Keaton in Beetlejuice, Burton agreed.[18]
Keaton's casting caused a controversy among comic book fans,[16] with 50,000 protest letters sent to Warner Bros. offices.[14] Bob Kane, Sam Hamm and Michael Uslan also heavily questioned the casting.[12] Burton acknowledged, "Obviously there was a negative response from the comic book people. I think they thought we were going to make it like the 1960s TV series, and make it campy, because they thought of Michael Keaton from Mr. Mom and Night Shift and stuff like that."[19] Keaton studied The Dark Knight Returns for inspiration.[20]
Tim Curry, Willem Dafoe, David Bowie, John Lithgow and James Woods were considered for the Joker.[13][21] Burton wanted to cast Brad Dourif, but the studio refused.[22] Robin Williams lobbied hard for the part.[14] Jack Nicholson had been producer Michael Uslan's and Bob Kane's choice since 1980. Peters approached Nicholson as far back as 1986, during filming of The Witches of Eastwick.[23] Nicholson had what was known as an "off-the-clock" agreement. His contract specified the number of hours he was entitled to have off each day, from the time he left the set to the time he reported back for filming,[11] as well as being off for Los Angeles Lakers home games.[24] Nicholson demanded to have all of his scenes shot in a three-week block, but the schedule lapsed into 106 days.[23] He received a $6 million salary, as well as a large percentage of the box office gross estimated at $60 million to $90 million.[25]
Sean Young was originally cast as Vicki Vale, but was injured in a horse-riding accident prior to commencement of filming.[26] Burton suggested replacing Young with Michelle Pfeiffer but Keaton, who was in a relationship with Pfeiffer, believed it would be too awkward. She went on to portray Catwoman in Batman Returns. Young's departure necessitated an urgent search for an actress who, besides being right for the part, could commit to the film at very short notice. Peters suggested Kim Basinger: she was able to join the production immediately and was cast.[18][26] As a fan of Michael Gough's work in various Hammer Film Productions, Burton cast Gough as Bruce Wayne's butler, Alfred Pennyworth.[27] Robert Wuhl was cast as reporter Alexander Knox. His character was originally supposed to die by the Joker's poison gas in the climax, but the filmmakers "liked [my] character so much," Wuhl said "that they decided to let me live."[15] Tim Burton chose Billy Dee Williams as Harvey Dent because he wanted to include the villain Two-Face in a future film using the concept of an African-American Two-Face for the black and white concept,[28] but Tommy Lee Jones was later cast in the role for Batman Forever, which disappointed Williams.[15] Nicholson convinced the filmmakers to cast Tracey Walter as the Joker's henchman, Bob; in real life, Nicholson and Walter are close friends.[29] Kiefer Sutherland was considered as Robin before the character was deleted from the shooting script.[30] The rest of the cast included Pat Hingle as Commissioner Gordon, Jerry Hall as Alicia Hunt, Lee Wallace as Mayor Borg, William Hootkins as Lt. Max Eckhardt, and Jack Palance as crime boss Carl Grissom.
Filming



Knebworth House served as the Wayne Manor.
The filmmakers considered filming Batman entirely on the Warner Bros. backlot in Burbank, California, but media interest in the film made them change the location. It was shot at Pinewood Studios in England from October 1988 to January 1989.[31] 18 sound stages were used, almost the entirety of Pinewood's 95-acre backlot.[17] Locations included Knebworth House and Hatfield House doubling for Wayne Manor, plus Acton Lane Power Station and Little Barford Power Station.[7][32] The original production budget escalated from $30 million to $48 million.[18] Filming was highly secretive. The unit publicist was offered and refused £10,000 for the first pictures of Jack Nicholson as the Joker. The police were later called in when two reels of footage (about 20 minutes' worth) were stolen.[23] With various problems during filming, Burton called it "torture. The worst period of my life!"[18]
Hamm was not allowed to perform rewrites during the 1988 Writers Guild of America strike.[11] Jonathan Gems, Warren Skaaren and Charles McKeown rewrote the script during filming.[33] Hamm criticized the rewrites, but blamed the changes on Warner Bros.[12] Burton explained, "I don't understand why that became such a problem. We started out with a script that everyone liked, although we recognized it needed a little work."[2] Dick Grayson appeared in the shooting script but was deleted, as the filmmakers felt he was irrelevant to the plot.[11] Bob Kane supported this decision.[27]
Originally in the climax, the Joker was to kill Vicki Vale, sending Batman into a vengeful fury. Jon Peters reworked the climax without telling Burton and commissioned production designer Anton Furst to create a 38-foot (12 m) model of the cathedral.[34] This cost $100,000 when the film was already well over budget. Burton disliked the idea, having no clue how the scene would end: "Here were Jack Nicholson and Kim Basinger walking up this cathedral, and halfway up Jack turns around and says, 'Why am I walking up all these stairs? Where am I going?' 'We'll talk about it when you get to the top!' I had to tell him that I didn't know."[34]
Design



"I envisaged Gotham the way I see it now at Pinewood. They've got it, every building, every trash can, every brick."
—Batman co-creator Bob Kane when looking at the buildings at Pinewood Studios[23]
Burton was impressed with Anton Furst's designs in The Company of Wolves, and previously failed to hire Furst as production designer for Beetlejuice.[31] Furst had been too committed on High Spirits, a choice he later regretted.[11] Furst enjoyed working with Burton. "I don't think I've ever felt so naturally in tune with a director", he said; "Conceptually, spiritually, visually, or artistically. There was never any problem because we never fought over anything. Texture, attitude and feelings are what Burton is a master at."[17]



 The Batsuit, worn by Michael Keaton.
Furst and the art department deliberately mixed clashing architectural styles to "make Gotham City the ugliest and bleakest metropolis imaginable".[35] Furst continued, "we imagined what New York City might have become without a planning commission. A city run by crime, with a riot of architectural styles. An essay in ugliness. As if hell erupted through the pavement and kept on going".[36] The 1985 film Brazil by Terry Gilliam was also a notable influence upon the film's production design, as both Burton and Furst studied it as a reference.[17] Derek Meddings served as the visual effects supervisor, while Keith Short helped construct the newly created 1989 Batmobile,[37] adding two Browning machine guns.[38] On designing the Batmobile, Furst explained, "We looked at jet aircraft components, we looked at war machines, we looked at all sorts of things. In the end, we went into pure expressionism, taking the Salt Flat Racers of the 30s and the Sting Ray macho machines of the 50s".[23] The car was built upon a Chevrolet Impala when previous development with a Jaguar and Ford Mustang failed.[23]
Costume designer Bob Ringwood turned down the chance to work on Licence to Kill in favor of Batman. Ringwood found it difficult designing the Batsuit because "the image of Batman in the comics is this huge, big six-foot-four hunk with a dimpled chin. Michael Keaton is a guy with average build", he stated. "The problem was to make somebody who was average-sized and ordinary-looking into this bigger-than-life creature."[39] Burton commented, "Michael is a bit claustrophobic, which made it worse for him. The costume put him in a dark, Batman-like mood though, so he was able to use it to his advantage".[39] Burton's idea was to use an all-black suit, and was met with positive feedback by Bob Kane. Jon Peters wanted to use a Nike product placement with the Batsuit.[40] Ringwood studied over 200 comic book issues for inspiration. 28 sculpted latex designs were created; 25 different cape looks and 6 different heads were made, accumulating a total cost of $250,000.[41] Comic book fans initially expressed negative feedback against the Batsuit.[31] Burton opted not to use tights, spandex, or underpants as seen in the comic book, feeling it was not intimidating.[2] Prosthetic makeup designer Nick Dudman used acrylic-based makeup paint called PAX for Nicholson's chalk-white face. Part of Nicholson's contract was approval over the makeup designer.[42]
Music
See also: Batman (album) and Batman (score)
Burton hired Danny Elfman, his collaborator on Pee-wee's Big Adventure and Beetlejuice, to compose the music score. For inspiration, Elfman was given The Dark Knight Returns. Elfman was worried, as he had never worked on a production this large in budget and scale.[43] In addition, producer Jon Peters was skeptical of hiring Elfman, but was later convinced when he heard the opening number.[44] Peters and Peter Guber wanted Prince to write music for the Joker and Michael Jackson to do the romance songs. Elfman would then combine the style of Prince and Jackson's songs together for the entire film score.[2]
Burton protested the ideas, citing "my movies aren't commercial like Top Gun."[2] Elfman enlisted the help of Oingo Boingo lead guitarist Steve Bartek and Shirley Walker to arrange the compositions for the orchestra.[45] Elfman was later displeased with the audio mixing of his film score. "Batman was done in England by technicians who didn't care, and the non-caring showed," he stated. "I'm not putting down England because they've done gorgeous dubs there, but this particular crew elected not to."[46] Batman was one of the first films to spawn two soundtracks. One of them featured songs written by Prince while the other showcased Elfman's score. Both were successful,[47] and compilations of Elfman's opening credits were used in the title sequence theme for Batman: The Animated Series, also composed by Shirley Walker.[21]
Marketing
Production designer Anton Furst designed the poster, which he called "evocative but ubiquitous. Only featuring the Bat-Symbol. Not too much and not too little". Earlier designs "had the word 'Batman' spelled in RoboCop or Conan the Barbarian-type font".[18] Jon Peters unified all the film's tie-ins, even turning down $6 million from General Motors to build the Batmobile because the car company would not relinquish creative control.[18]
During production, Peters read in The Wall Street Journal that comic book fans were unsatisfied with the casting of Michael Keaton. In response, Peters rushed the first film trailer that played in thousands of theaters during Christmas. It was simply an assemblage of scenes without music, but happened to create enormous anticipation for the film.[18] DC Comics allowed screenwriter Sam Hamm to write his own comic book miniseries. Hamm's stories were collected in the graphic novel Batman: Blind Justice (ISBN 978-1563890475). Denys Cowan and Dick Giordano illustrated the artwork.[13] Blind Justice tells the story of Bruce Wayne trying to solve a series of murders connected to Wayne Enterprises. It also marks the first appearance of Henri Ducard, who was later used in the rebooted Batman Begins, albeit as an alias for the more notable Ra's al Ghul.[13]
In the months pre-dating Batman's release in June 1989, a popular culture phenomenon rose known as "Batmania".[31] Over $750 million worth of merchandise was sold.[21] Cult filmmaker and comic book writer Kevin Smith remembered: "That summer was huge. You couldn't turn around without seeing the Bat-Signal somewhere. People were cutting it into their fucking heads. It was just the summer of Batman and if you were a comic book fan it was pretty hot."[48] Hachette Book Group USA published a novelization, Batman written by Craig Shaw Gardner.[49] It remained on the New York Times Best Seller list throughout June 1989.[50] Burton admitted he was annoyed by the publicity. David Handelman of The New York Observer categorized Batman as a high concept film. He believed "it is less movie than a corporate behemoth".[8]
Reception
Box office
Batman opened on June 23, 1989, grossing $43.6 million in 2,194 theaters during its opening weekend. This broke the opening weekend record, set by Ghostbusters II one week earlier, with $29.4 million.[51] Batman would eventually gross $251.2 million in North America and $160.15 million internationally, totaling $411.35 million.[52] Batman was the first film to earn $100 million in its first ten days of release,[2] and was the highest grossing film based on a DC comic book until 2008's The Dark Knight.[53] The film's gross is the 66th highest ever in North American ranks.[54] Although Indiana Jones and the Last Crusade made the most money worldwide in 1989,[55] Batman was able to beat The Last Crusade in North America,[56] and made a further $150 million in home video sales.[57]
Critical reaction
Batman was criticized in some quarters for being "too dark".[2] Many observed that Burton was more interested in the Joker and the art and set production design than Batman or anything else in terms of characterization and screentime.[2] Comic book fans reacted negatively over the Joker murdering Thomas and Martha Wayne; in the comic book, Joe Chill is responsible. Writer Sam Hamm, who is a comic book fan, said it was Burton's idea to have the Joker murder Wayne's parents. "The Writer's Strike was going on," Hamm said, "and Tim had the other writers do that. I also hold innocent to Alfred letting Vicki Vale into the Batcave. Fans were ticked off with that, and I agree. That would have been Alfred's last day of employment at Wayne Manor."[44]
The songs written by Prince were criticized for being "too out of place".[11] While Burton has stated he had no problem with the Prince songs, he was less enthusiastic with their use in the film.[3] On the film, Burton remarked, "I liked parts of it, but the whole movie is mainly boring to me. It's OK, but it was more of a cultural phenomenon than a great movie."[57] Nonetheless, it received mostly positive reviews. Based on 57 reviews collected by Rotten Tomatoes, 70% of reviewers reacted positively to Batman.[58] By comparison, Metacritic has collected an average score of 66, based on 17 reviews.[59]
Burton biographer Alison McMahan wrote, "fans of the Batman franchise complained when they heard of Michael Keaton's casting. However, no one complained when they saw his performance."[8] James Berardinelli called the film entertaining, with the highlight being the production design. However, he concluded, "the best thing that can be said about Batman is that it led to Batman Returns, which was a far superior effort."[60] Variety felt "Jack Nicholson stole every scene" but still greeted the film with positive feedback.[61] Roger Ebert was highly impressed with the production design, but claimed "Batman is a triumph of design over story, style over substance, a great-looking movie with a plot you can't care much about." He also called the film "a depressing experience".[62] His reviewing partner Gene Siskel disagreed, describing the film as having a 'refreshingly adult' approach with performances, direction and set design that 'draws you into a psychological world'. Jonathan Rosenbaum of the Chicago Reader called it "watchable enough".[63]
Legacy
Anton Furst and Peter Young won the Academy Award for Best Art Direction,[64] while Nicholson was nominated for the Golden Globe Award for Best Actor (Musical or Comedy).[65] The British Academy of Film and Television Arts nominated Batman in six categories (Production Design, Visual Effects, Costume Design, Makeup, Sound and Actor in a Supporting Role for Nicholson), but it won none of the categories.[66] Nicholson, Basinger, the make-up department and costume designer Bob Ringwood all received nominations at the Saturn Awards. The film was also nominated for the Saturn Award for Best Fantasy Film[67] and the Hugo Award for Best Dramatic Presentation.[68]
The success of Batman prompted Warner Bros. Animation to create the acclaimed Batman: The Animated Series, as a result beginning the long-running DC animated universe[69] and helped establish the modern day superhero film genre. Series co-creator Bruce Timm stated the television show's Art Deco design was inspired from the film. Timm commented, "our show would never have gotten made if it hadn't been for that first Batman movie."[70] Batman initiated the original Batman film series. Burton joked, "ever since I did Batman, it was like the first dark comic book movie. Now everyone wants to do a dark and serious superhero movie. I guess I'm the one responsible for that trend."[71]
Producers Michael Uslan and Benjamin Melniker filed a breach of contract lawsuit in Los Angeles County Superior Court on March 26, 1992. Uslan and Melniker claimed to be "the victims of a sinister campaign of fraud and coercion that has cheated them out of continuing involvement in the production of Batman and its sequels. We were denied proper credits, and deprived of any financial rewards for our indispensable creative contribution to the success of Batman."[18] A superior court judge rejected the lawsuit. Total revenues of Batman have topped $2 billion, with Uslan claiming to have "not seen a penny more than that since our net profit participation has proved worthless."[18] Warner Bros. offered the pair an out-of-court pay-off, a sum described by Uslan and Melniker's attorney as "two popcorns and two Cokes".[72]
Reflecting on the twentieth anniversary of its release in a retrospective article on Salon.com, film commentator Scott Mendelson noted the continuing impact that Batman has had on the motion film industry, including the increasing importance of opening weekend box office receipts; the narrowing window between a film's debut and its video release that caused the demise of second-run movie theaters; the accelerated acquisition of pre-existing, pre-sold properties for film adaptations that can be readily leveraged for merchandizing tie-ins; the primacy of the MPAA PG-13 as the target rating for film producers; and more off-beat, non-traditional casting opportunities for genre films.[73]
The film also received recognition from the American Film Institute. Batman was anointed the 46th greatest movie hero on AFI's 100 Years...100 Heroes and Villains.[74] The Joker was anointed the 45th greatest movie villain on the same list. In 2008, Batman was selected by Empire magazine as number 458 of The 500 Greatest Movies of All Time.[75]
American Film Institute listsAFI's 100 Years...100 Movies – Nominated[76]
AFI's 100 Years...100 Thrills – Nominated[77]
AFI's 100 Years...100 Heroes and Villains: The Joker – #45 Villain
Batman – #46 Hero
AFI's 100 Years...100 Movie Quotes: "Have you ever danced with the Devil in the pale moonlight?" – Nominated[78]
AFI's 100 Years of Film Scores – Nominated[79]
AFI's 10 Top 10 – Nominated Fantasy Film[80]
Home video
Many versions of the film have been released. Included are VHS, Laserdisc, single-disc DVD, special edition DVD and an anthology set. The Batman: The Motion Picture Anthology released in 2005 included 2-disc special edition DVDs of the Tim Burton/Joel Schumacher Batman films. This anthology set was re-released on Blu-ray on March 10, 2009.
On May 19, 2009 a 20th anniversary stand-alone edition was released. This stand-alone version contains exactly the same special features as its anthology set (both DVD and Blu-ray) counterparts. There are two differences: This version includes a 50-page booklet guide to the film, and a slight variation in packaging from normal Blu-ray cases (i.e. a Warner Bros. digibook). They both include a digital copy of the film.
The film was also included in 'The Tim Burton Collection' DVD/Blu-ray set in 2012, alongside its sequel and several other Burton films.
References
1.Jump up ^ "Batman - BoxOfficeMojo". Box Office Mojo. Retrieved May 12, 2013.
2.^ Jump up to: a b c d e f g h i j k l m n o p Mark Salisbury; Tim Burton (2006). "Batman". Burton on Burton. London: Faber and Faber. pp. 70–83. ISBN 0-571-22926-3.
3.^ Jump up to: a b c Ken Hanke (1999). "Going Batty in Britain". Tim Burton: An Unauthorized Biography of the Filmmaker. Renaissance Books. pp. 75–85. ISBN 1-58063-162-2.
4.Jump up ^ Kim Newman (September 1989). "Batman". Monthly Film Bulletin. pp. 61–64.
5.Jump up ^ Hal Hinson (1989-06-23). "Batman". The Washington Post. Retrieved 2008-10-24.
6.Jump up ^ Richard Corliss (1989-06-19). "Murk in The Myth". Time. Retrieved 2008-10-26.
7.^ Jump up to: a b Hanke, p.87-96
8.^ Jump up to: a b c Alison McMahan (2005). "Burton's Batman: Myth, Marketing, and Merchandising". The Films of Tim Burton: Animating Live Action in Contemporary Hollywood. Farmington Hills, Michigan: Gale. pp. 121–156. ISBN 0-8264-1566-0.
9.Jump up ^ Tim Burton, Burton on Burton: Revised Edition (London: Faber and Faber, 2006) 71.
10.^ Jump up to: a b "Batman". Steve Englehart.com. Archived from the original on 14 December 2007. Retrieved 2007-11-25.
11.^ Jump up to: a b c d e f g Alan Jones (November 1989). "Batman". Cinefantastique. pp. 55–67.
12.^ Jump up to: a b c d e Taylor L. White (July 1989). "Batman". Cinefantastique. pp. 33–40.
13.^ Jump up to: a b c d Stephen Rebello (November 1989). "Sam Hamm - Screenwriter". Cinefantastique. pp. 34–41.
14.^ Jump up to: a b c Tim Burton, Sam Hamm, Mark Canton, Michael Keaton, Shadows of the Bat: The Cinematic Saga of the Dark Knight—The Gathering Storm, 2005, Warner Home Video
15.^ Jump up to: a b c Robert Wuhl, Billy Dee Williams, Pat Hingle, Batman: The Heroes, 2005, Warner Home Video
16.^ Jump up to: a b Lowry, Brian (August 23, 2013). "Batman Backlash: Ben Affleck Has Nothing on Michael Keaton". Variety. Retrieved 24 August 2013.
17.^ Jump up to: a b c d Alan Jones (November 1989). "Batman in Production". Cinefantastique. pp. 75–88.
18.^ Jump up to: a b c d e f g h i j Nancy Griffin; Kim Masters (1997). "Hit Men". Hit & Run: How Jon Peters and Peter Guber Took Sony For A Ride In Hollywood. Simon & Schuster. pp. 158–174. ISBN 0-684-80931-1.
19.Jump up ^ Hilary de Vries (1989-02-05). "Batman Battles for Big Money". The New York Times. Retrieved 2008-10-26.
20.Jump up ^ Les Daniels (2000). Batman: The Complete History. Chronicle Books. p. 164. ISBN 0-8118-2470-5.
21.^ Jump up to: a b c David Hughes (2003). "Batman". Comic Book Movies. Virgin Books. pp. 33–46. ISBN 0-7535-0767-6.
22.Jump up ^ Acuna, Kirsten (October 14, 2013). "Tim Burton Originally Wanted 'Chucky' Voice Actor Brad Dourif To Play The Joker In 'Batman'". Business Insider. Retrieved October 14, 2013.
23.^ Jump up to: a b c d e f Iain Johnstone (August 1989). "Dark Knight in the City of Dreams". Empire. pp. 46–54.
24.Jump up ^ "Top 10 Celebrity Lakers Fans". NBA.com. Retrieved September 6, 2007.
25.Jump up ^ Matt Carey (2013-11-08). "You don't know Jack (Nicholson)". CNN. Retrieved 2013-12-22.
26.^ Jump up to: a b Shadows of the Bat: The Cinematic Saga of the Dark Knight, "Part 2: The Gathering Storm", DVD documentary, 2005
27.^ Jump up to: a b Tim Burton, DVD audio commentary, 2005, Warner Home Video
28.Jump up ^ Batman Special Edition DVD/Blu-ray, Tim Burton Commentary
29.Jump up ^ Jack Nicholson, Tracey Walter, Batman: The Villains, 2005, Warner Home Video
30.Jump up ^ Sean Marland (2012-03-08). "Kiefer Sutherland Talks 24: The Movie, Turning Down Batman and His New Show ‘Touch’". OnTheBox.com. Retrieved 2012-08-07.
31.^ Jump up to: a b c d Joe Morgenstern (1989-04-09). "Tim Burton, Batman and The Joker". The New York Times.
32.Jump up ^ "Batman (1989) Filming Locations". Ukonscreen.com. Retrieved 2011-01-02.
33.Jump up ^ Salisbury, Burton, p.145
34.^ Jump up to: a b Tom Stone (2004-09-28). "How Hollywood had the last laugh". The Daily Telegraph.
35.Jump up ^ Anton Furst, Derek Meddings, Visualizing Gotham: The Production Design of Batman, 2005, Warner Home Video
36.Jump up ^ Richard Corliss; Elaine Dutka (1989-06-19). "The Caped Crusader Flies Again". Time. Retrieved 2008-10-26.
37.Jump up ^ "Batman". Keith Short.com. Retrieved 2008-05-12.
38.Jump up ^ Keith Short, Building the Batmobile, 2005, Warner Home Video
39.^ Jump up to: a b Jody Duncan Shannon (February 1990). "Building the Bat-suit". Cinefex. pp. 16–24.
40.Jump up ^ Bob Ringwood, Tim Burton, Designing the Batsuit, 2005, Warner Home Video
41.Jump up ^ "Reinventing the Batsuit for the Modern Era". American Movies Classic. Archived from the original on 6 October 2008. Retrieved 2008-10-17.
42.Jump up ^ Alan Jones (November 1989). "The Joker's Make-up". Cinefantastique. pp. 69–70.
43.Jump up ^ Danny Elfman, Tim Burton, Nocturnal Overtures: The Music of Batman, 2005, Warner Home Video
44.^ Jump up to: a b Tim Burton, Sam Hamm, Danny Elfman, Shadows of the Bat: The Cinematic Saga of the Dark Knight—The Legend Reborn, 2005, Warner Home Video
45.Jump up ^ Givens, Ron (1990-02-23). "The Elfman Cometh". Entertainment Weekly. Archived from the original on 7 January 2008. Retrieved 2007-12-18.
46.Jump up ^ Judy Sloane (August 1995). "Elfman on scoring". Film Review. p. 77.
47.Jump up ^ Stephen Holden (1989-07-19). "The Pop Life". The New York Times.
48.Jump up ^ Kevin Smith, An Evening with Kevin Smith, 2002, Sony Pictures Home Entertainment
49.Jump up ^ "Batman: The Novelization (Mass Market Paperback)". Amazon.com. Retrieved 2008-08-16.
50.Jump up ^ "Paperback Best Sellers: June 18, 1989". The New York Times. 1989-06-18.
51.Jump up ^ Staff (1989-06-27). "Batman Sets Record And So Does Hollywood". The New York Times. Retrieved 2008-10-26.
52.Jump up ^ "Batman (1989)". Box Office Mojo. Retrieved 2008-05-03.
53.Jump up ^ "DC Comics Movies". Box Office Mojo. Retrieved 2008-05-03.
54.Jump up ^ "All Time Domestic Box Office Results". Box Office Mojo. Retrieved 2012-07-05.
55.Jump up ^ "1989 Worldwide Grosses". Box Office Mojo. Retrieved 2008-05-03.
56.Jump up ^ "1989 Domestic Grosses". Box Office Mojo. Retrieved 2008-05-03.
57.^ Jump up to: a b Jeffrey Resner (August 1992). "Three Go Mad in Gotham", Empire, pp. 44-52. Retrieved on 2008-08-14.
58.Jump up ^ "Batman". Rotten Tomatoes. Retrieved 2012-07-05.
59.Jump up ^ "Batman (1989): Reviews". Metacritic. Retrieved 2008-05-04.
60.Jump up ^ James Berardinelli (2001-06-05). "Batman (1989)". ReelViews. Retrieved 2008-05-05.
61.Jump up ^ "Batman". Variety. 1989-01-01. Retrieved 2008-05-05.
62.Jump up ^ "Batman". Roger Ebert. Retrieved 2008-05-05.
63.Jump up ^ Jonathan Rosenbaum (1989-06-23). "Batman". Chicago Reader. Archived from the original on 6 May 2008. Retrieved 2008-05-05.
64.Jump up ^ "Batman". Academy of Motion Picture Arts and Sciences. Retrieved 2008-10-04.
65.Jump up ^ "Batman". Hollywood Foreign Press Association. Retrieved 2008-05-06.
66.Jump up ^ "Batman". British Academy of Film and Television Arts. Retrieved 2008-10-04.
67.Jump up ^ "Past Saturn Awards". Saturn Awards.org. Archived from the original on 11 May 2008. Retrieved 2008-05-07.
68.Jump up ^ "1990 Hugo Awards". The Hugo Awards. Retrieved 2008-05-06.
69.Jump up ^ Paul Dini; Chip Kidd (1998). Batman Animated. Titan Books. p. 2. ISBN 1-84023-016-9.
70.Jump up ^ Bruce Timm; Erick Nolen-Weathington (2004). Modern Masters Volume 3: Bruce Timm. TwoMorrows Publishing. pp. 38–49. ISBN 1-893905-30-6.
71.Jump up ^ Geoff Boucher (2008-10-15). "Tim Burton talks about Johnny Depp, 'Alice in Wonderland' and 'The Dark Knight'". Los Angeles Times.
72.Jump up ^ Olly Richards (September 1992). "Trouble in Gotham", Empire, pp. 21-23. Retrieved on 2008-08-14.
73.Jump up ^ Scott Mendelson (June 24, 2009). "20 years later, how Batman changed the movie business...". Salon.com. Archived from the original on 27 June 2009. Retrieved 2009-07-04.
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Further reading
Janet K. Halfyard, (28 October 2004). Danny Elfman's Batman: A Film Score Guide (Paperback). A careful study of Elfman's scoring technique with a detailed analysis of the film itself. Scarecrow Press. ISBN 0-8108-5126-1.
Craig Shaw Gardner (1 June 1989). Batman (Mass Market Paperback). Novelization of the film. Hachette Book Group USA. ISBN 0-446-35487-2.
External links

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Batman in film
From Wikipedia, the free encyclopedia
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The fictional character Batman, a comic book superhero featured in DC Comics publications, has appeared in various films since his inception. The character first starred in two serial films in the 1940s, Batman and Batman and Robin. The character also appeared in the 1966 film Batman, which was a feature film adaptation of the 1960s Batman TV series starring Adam West and Burt Ward, who also starred in the film.
Toward the end of the 1980s, the Warner Bros. studio began producing a series of feature films starring Batman, beginning with the 1989 film Batman, directed by Tim Burton and starring Michael Keaton. Burton and Keaton returned for the 1992 sequel Batman Returns, and in 1995, Joel Schumacher directed Batman Forever with Val Kilmer as Batman. Schumacher also directed the 1997 sequel Batman & Robin, which starred George Clooney. Batman & Robin was poorly received by both the critics and the fans, and after a long hiatus in which multiple possible Batman scripts were developed, Warner Bros. rebooted the film franchise in 2005 with Batman Begins, directed by Christopher Nolan and starring Christian Bale. Nolan returned to direct two further installments in the franchise, The Dark Knight in 2008 and The Dark Knight Rises in 2012 with Bale reprising his role in both films. The two sequels both earned over $1 billion worldwide, making the Batman series the second (and one of only two, the other being the Pirates of the Caribbean series) to have two of its films earn more than $1 billion worldwide.[1]
Batman has also appeared in multiple animated films, both as a starring character and as an ensemble character. While most animated films were released direct-to-video, the 1993 animated feature Batman: Mask of the Phantasm (based on the 1990s Batman: The Animated Series) was released theatrically.
Having earned a total of U.S. $1,900,844,295 the Batman series is the fifth-highest-grossing film series in North America.[2]


Contents  [hide]
1 1940s film serials 1.1 Batman (1943 serial)
1.2 Batman and Robin (1949 serial)
2 Batman (1966)
3 Tim Burton/Joel Schumacher series (1989–1997) 3.1 Previous concepts
3.2 Batman (1989)
3.3 Batman Returns (1992)
3.4 Batman Forever (1995)
3.5 Batman & Robin (1997)
3.6 Proposals for fifth film 3.6.1 Batman Triumphant
3.6.2 Batman: DarKnight
3.6.3 Robin spinoff

4 Other proposals 4.1 Batman: Year One & Batman Beyond
4.2 Batman vs. Superman
5 Christopher Nolan series (2005–2012) 5.1 Batman Begins (2005)
5.2 The Dark Knight (2008)
5.3 The Dark Knight Rises (2012)
6 Current and future 6.1 Untitled Man of Steel sequel
7 Animated films 7.1 Featuring Batman
7.2 With other heroes
7.3 Other
8 Cast and characters
9 Reception 9.1 Box office performance
9.2 Academy Awards
9.3 Critical reaction
10 See also
11 References
12 External links

1940s film serials
Batman (1943 serial)
Main article: Batman (serial)
Batman was a 15-chapter serial film released in 1943 by Columbia Pictures. The serial starred Lewis Wilson as Batman and Douglas Croft as Robin. J. Carrol Naish played the villain, an original character named Dr. Daka. Rounding out the cast were Shirley Patterson as Linda Page (Bruce Wayne's love interest), and William Austin as Alfred. The plot is based on Batman, a US government agent, attempting to defeat the Japanese agent Dr. Daka, at the height of World War II.
The film is notable for being the first filmed appearance of Batman and for providing two core elements of the Batman mythos.[3] The film introduced "The Bat's Cave" and the Grandfather clock entrance.[3] The name was altered to the Batcave for the comic. William Austin, who played Alfred, had a trim physique and sported a thin mustache, while the contemporary comic book version of Alfred was overweight and clean-shaven prior to the serial's release. The comics version of Alfred was altered to match that of Austin's, and has stayed that way.[3]
Batman and Robin (1949 serial)
Main article: Batman and Robin (serial)
Batman and Robin was another 15-chapter serial film released in 1949 by Columbia Pictures. Robert Lowery played Batman, while Johnny Duncan played Robin. Supporting players included Jane Adams as Vicki Vale and veteran character actor Lyle Talbot as Commissioner Gordon. The plot dealt with the Dynamic Duo facing off against the Wizard, a hooded villain whose identity remains a mystery throughout the serial until the end.
Batman (1966)
Main article: Batman (1966 film)
Batman (also known as Batman: The Movie) is a 1966 film adaptation of the popular Batman television series, and was the first full-length theatrical adaptation of the DC Comics character. The 20th Century Fox release starred Adam West as Batman and Burt Ward as Robin, as well as Cesar Romero as the Joker, Burgess Meredith as the Penguin, Lee Meriwether as Catwoman, and Frank Gorshin as the Riddler.
The film was directed by Leslie H. Martinson, who also directed a pair of Batman episodes: "The Penguin Goes Straight" and "Not Yet, He Ain't," both from season one.
Tim Burton/Joel Schumacher series (1989–1997)
Previous concepts
In the late 1970s, Batman's popularity was waning.[4] CBS was interested in producing a Batman in Outer Space film. Producers Michael Uslan and Benjamin Melniker purchased the film rights of Batman from DC Comics on October 3, 1979. It was Uslan's wish "to make the definitive, dark, serious version of Batman, the way Bob Kane and Bill Finger had envisioned him in 1939. A creature of the night; stalking criminals in the shadows."[4] Richard Maibaum was approached to write a script with Guy Hamilton to direct, but the two turned down the offer. Uslan was unsuccessful with pitching Batman to various movie studios because they wanted the film to be similar to the campy 1960s TV series. Columbia Pictures and United Artists were among those to turn down the film.[5]
A disappointed Uslan then wrote a script titled Return of the Batman to give the film industry a better idea of his vision for the film. Uslan later compared its dark tone to that of The Dark Knight Returns, which his script pre-dated by six years.[4] In November 1979, producers Jon Peters and Peter Guber joined the project.[6] The four producers felt it was best to pattern the film's development after that of Superman (1978).[7] Uslan, Melniker and Guber pitched Batman to Universal Pictures, but the studio turned it down.[8] Though no movie studios were yet involved, the project was publicly announced with a budget of $15 million in July 1980 at the Comic Art Convention in New York. Warner Bros. decided to accept Batman.[9]
Tom Mankiewicz completed a script titled The Batman in June 1983, focusing on Batman and Dick Grayson's origins, with the Joker and Rupert Thorne as villains, and Silver St. Cloud as the romantic interest.[10] Mankiewicz took inspiration from the limited series Batman: Strange Apparitions (ISBN 1-56389-500-5), written by Steve Englehart.[11] Comic book artist Marshall Rogers, who worked with Englehart on Strange Apparitions, was hired for concept art.[8] The Batman was then announced in late 1983 for a mid-1985 release date on a budget of $20 million. Originally, Mankiewicz had wanted an unknown actor for Batman, William Holden for James Gordon, David Niven as Alfred Pennyworth and Peter O'Toole as the Penguin who Mankiewicz wanted to portray as a mobster with low body temperature.[9] Holden died in 1981 and Niven in 1983, so this would never come to pass. A number of filmmakers were attached to Mankiewicz' script, including Ivan Reitman and Joe Dante. Reitman wanted to cast Bill Murray as Batman. For the role of Robin, Eddie Murphy and Michael J. Fox were candidates. [12] Nine rewrites were performed by nine separate writers. Most of them were based on Strange Apparitions. However it was Mankiewicz's script that was still being used to guide the project.[13]
Batman (1989)



Michael Keaton as Batman.
Main article: Batman (1989 film)
Tim Burton took over as director of the first Batman film in 1986. Steve Englehart and Julie Hickson wrote film treatments before Sam Hamm wrote the first screenplay.[12][14] Numerous A-list actors were considered for the role of Batman before Michael Keaton was cast. Keaton's casting caused a controversy since, by 1988, he had become typecast as a comedic actor and many observers doubted he could portray a serious role.[12] Jack Nicholson accepted the role of the Joker under strict conditions that dictated a high salary, a portion of the box office profits and his shooting schedule. Nicholson's final salary is reported to be as high as $50 million.[6][9][15][16] Principal photography took place at Pinewood Studios from October 1988 to January 1989.[17] The budget escalated from $30 million to $48 million,[6] while the 1988 Writers Guild of America strike forced Hamm to drop out. Rewrites were performed by Warren Skaaren, Charles McKeown[9] and Jonathan Gems.[18] Batman received positive reviews, broke numerous box office records, and won the Academy Award for Best Art Direction. The film grossed over $400 million,[12] and left a legacy over the modern perception of the superhero film genre.[19]
Batman Returns (1992)
Main article: Batman Returns
Burton originally did not want to direct a sequel because of his mixed emotions over the previous film.[7] Sam Hamm's first script had Penguin and Catwoman searching for hidden treasure.[20] Daniel Waters delivered a script that satisfied Burton, which convinced him to direct the film. Wesley Strick did an uncredited rewrite, deleting characterizations of Harvey Dent and Robin and rewriting the climax.[21][22] Various A-list actresses lobbied hard for the role of Catwoman before Michelle Pfeiffer was cast, while Danny DeVito signed on to portray the Penguin.[23] Filming started at Warner Bros. in Burbank, California in June 1991. Batman Returns was released with financial success, but Warner Bros. was disappointed with the film's box office run because it earned less than its predecessor.[24] However, Batman Returns was released to generally positive reviews,[25] although a "parental backlash" criticized the film for containing violence and sexual innuendos that were thought to be unsuitable for children.[24] McDonald's shut down its Happy Meal tie-in for Batman Returns.[26]
Batman Forever (1995)
Main article: Batman Forever
Although Batman Returns was a financial success, Warner Bros. felt the film should have made more money. The studio decided to change the direction of the Batman film series to be more mainstream. Joel Schumacher replaced Tim Burton as director, while Burton decided to stay on as producer.[27] However, Michael Keaton did not like the new direction the film series was heading in,[28] and was replaced by Val Kilmer as Batman. Chris O'Donnell was introduced as Robin, Jim Carrey starred as The Riddler, while Tommy Lee Jones starred as Two-Face. Filming started in September 1994,[27] and Schumacher encountered problems communicating with Kilmer and Jones.[29] Batman Forever was released on June 16, 1995 with financial success, earning over $350 million worldwide and three Academy Award nominations, but the film was met with mixed reviews from critics.[30][31]
Batman & Robin (1997)
Main article: Batman & Robin (film)
After the release of Batman Forever, Warner Bros. started development on Batman & Robin began, commissioning it on fast track for an adamant June 1997 release.[32] Val Kilmer did not return, because of scheduling conflicts with The Saint,[33] and was replaced by George Clooney. Arnold Schwarzenegger starred as Mr. Freeze, while Uma Thurman starred as Poison Ivy and Alicia Silverstone starred as Batgirl. Chris O'Donnell reprised his role as Robin. Principal photography began in September 1996[34] and finished in January 1997,[35] two weeks ahead of the shooting schedule.[36] Batman & Robin was released on June 20, 1997, and received primarily negative reviews.[37] Observers criticized the film for its toyetic and campy approach, and for homosexual innuendos added by Schumacher.[33] Still, the film was a financial success,[38] but remains to be the least commercially successful live-action Batman film ever. Batman & Robin received numerous nominations at the Razzie Awards[39] and ranks among the worst rated superhero films of all time.[40][41]
Proposals for fifth film
Batman Triumphant
During the filming of Batman & Robin, Warner Bros. was impressed with the dailies. This prompted them to immediately hire Joel Schumacher to return as director for a sequel, but writer Akiva Goldsman, who worked on Batman Forever and Batman & Robin with Schumacher, turned down the chance to write the script.[36] In late 1996, Warner Bros. and Schumacher hired Mark Protosevich to write the script for a fifth Batman film. A projected mid-1999 release date was announced.[42] Titled Batman Triumphant, Protosevich's script had the Scarecrow as the main villain, and he was set to be played by radio talk show host Howard Stern. The Joker would return as a hallucination in Batman's mind caused by the Scarecrow's fear toxin. Harley Quinn appeared as a supporting character, written as the Joker's daughter trying to get revenge on Batman for the Joker's death.[43] With Quinn, Mad Hatter appeared also as a supporting character, written with a similar story of Edward Nygma in Batman Forever.[44] George Clooney, Chris O'Donnell and Alicia Silverstone were set to reprise the roles of Batman, Robin, and Batgirl.[45] However, when Batman & Robin received negative reviews and failed to outgross any of its predecessors, Warner Bros. was unsure of their plans for Batman Triumphant. The studio decided it was best to consider a live-action Batman Beyond film and an adaptation of Frank Miller's Batman: Year One. Warner Bros. would then greenlight whichever idea suited them the most.[46] Schumacher felt he "owe[d] the Batman culture a real Batman movie. I would go back to the basics and make a dark portrayal of the Dark Knight."[47] He approached Warner Bros. to do Batman: Year One in mid-1998.[47]
Batman: DarKnight
Despite Warner Bros. and Schumacher's interest with Year One, Lee Shapiro, a comic book fan, and Stephen Wise pitched the studio with a script titled Batman: DarKnight in mid-1998. DarKnight had Bruce Wayne giving up his crime fighting career, and Dick Grayson attending Gotham University.[48] Dr. Jonathan Crane uses his position as professor of psychology at Gotham University and as head psychiatrist at Arkham Asylum to conduct his experiments into fear (this element would later appear in Batman Begins). During a vengeful confrontation with a colleague, Dr. Kirk Langstrom, Crane unknowingly initiates Kirk's transformation into the creature known as Man-Bat. Citizens of Gotham believe Man-Bat's nightly activities to be Batman's "bloodthirsty" return. Bruce becomes Batman "to clear his name," and solve the mystery of Man-Bat.[48] Kirk struggles with his "man-vs.-monster" syndrome, as he longs to both reunite with his wife and get revenge on Crane, while Crane exacts revenge on those responsible for his dismissal from both Arkham and the university while encountering truths about his past. Warner Bros. decided not to move forward with the project, and passed on Batman: DarKnight in favor of Year One and Batman Beyond.[48]
Robin spinoff
Chris O'Donnell revealed to Access Hollywood that a Robin spin-off was planned but got scrapped after Batman & Robin. [49]
Other proposals
Batman: Year One & Batman Beyond
In January 2000, Scott Rosenberg turned down the chance to write the script for Batman: Year One.[50] In mid-2000, Paul Dini, Neal Stephenson and Boaz Yakin were hired to write a script for Batman Beyond, with Yakin to direct. The film was based on the Warner Bros. animated television series of the same name.[51] Yakin developed one draft of the screenplay with writers but soon lost interest,[52] and Warner Bros. abandoned Batman Beyond almost instantly in favor of Batman: Year One.[46]
Around the same time, Warner Bros. hired Darren Aronofsky to write and direct Year One, despite interest from Joel Schumacher.[47][51] Aronofsky, who collaborated with Frank Miller on an unproduced script for Ronin, brought Miller to co-write Year One with him.[53] They intended to reboot the Batman franchise, "it's somewhat based on the comic book," Aronofsky said. "Toss out everything you can imagine about Batman! Everything! We're starting completely anew."[54] Regular Aronofsky collaborator, Matthew Libatique, was set as cinematographer,[55] and Aronofsky had also approached Christian Bale for the role of Batman. Coincidentally, Bale would be cast in the role for Batman Begins.[56] At the same time, Warner Bros. was moving forward on a Catwoman spin-off.[57] However, by June 2002, the studio decided to move forward on Batman vs. Superman and abandon Year One.[58]
Batman vs. Superman
Warner Bros. abandoned J. J. Abrams' script for Superman: Flyby, which had been greenlighted with McG to direct.[59][60] When McG dropped out in favor of Charlie's Angels: Full Throttle,[61] Warner Bros. approached Wolfgang Petersen to direct Superman: Flyby,[62] however, in August 2001,[63] Andrew Kevin Walker pitched Warner Bros. an idea titled Batman vs Superman, attaching Petersen as director. Superman: Flyby was put on hold,[62] and Akiva Goldsman was hired to rewrite Walker's Batman vs. Superman.[46]
Goldsman's draft, dated June 21, 2002, had Bruce Wayne going through a mental breakdown after his five-year retirement from crime fighting. Dick Grayson, Alfred Pennyworth and Commissioner Gordon are all dead, but Bruce's depressed emotions become resolved with fiancée Elizabeth Miller. Meanwhile, Clark Kent is struggling because of a recent divorce with Lois Lane. Clark and Bruce are close friends, and Clark is Bruce's best man. After the Joker kills Elizabeth on the honeymoon, Bruce plots a revenge scheme, while Clark tries to hold him back. In return, Bruce blames Clark for her death, and the two go against one another. Part of the script took place in Smallville, where Clark goes into exile with Lana Lang. However, Lex Luthor is held to be responsible for the entire plot of Batman and Superman destroying each other. The two decide to team up and stop Luthor.[64] Christian Bale, who would play the character in Christopher Nolan's Batman film trilogy, was simultaneously approached to portray Batman for Darren Aronofsky's Batman: Year One,[65] while Josh Hartnett was offered the role of Superman.[61]
Filming was to start in early 2003, with plans for a five- to six-month shoot. The release date was set for the summer of 2004.[66] However, Warner Bros. canceled development to focus on individual Superman and Batman projects after Abrams submitted another draft for Superman: Flyby.[67] According to Petersen "[Warner Bros.' chief] Alan Horn was so torn, because it's such a fascinating concept to do a Batman versus Superman film."[68] Petersen still has expressed interest in directing Batman vs. Superman sometime in the future (with Bale as Batman),[69] as has Bryan Singer.[70] In the opening scene of I Am Legend, a large banner displays the Superman symbol within the Batman symbol in Times Square. It is meant as an in-joke by writer Akiva Goldsman, who wrote scripts for Batman vs. Superman and I Am Legend.[71]
Christopher Nolan series (2005–2012)


 It has been suggested that this section be split into a new article. (Discuss) Proposed since December 2013.
Batman Begins (2005)
Main article: Batman Begins
Director/writer Christopher Nolan and co-writer David S. Goyer began work on Batman Begins in early 2003[72] and aimed for a darker and more realistic tone, with humanity and realism being the basis of the film.[73] The film, which was primarily shot in the United Kingdom and Chicago,[74][75] relied on traditional stunts and scale models. Computer-generated imagery was used minimally. Christian Bale starred as Batman, Liam Neeson starred as Ra's al Ghul (albeit masquerading as Henri Ducard), and Cillian Murphy starred as The Scarecrow. Katie Holmes also starred in the movie as Bruce's love interest, Rachel Dawes. A new Batmobile (called the Tumbler) and a more mobile Batsuit were both created specifically for the film.[76][77]
Batman Begins was both critically and commercially successful. The film opened on June 15, 2005, in the United States and Canada in 3,858 theaters. It grossed $48 million in its opening weekend, eventually grossing over $372 million worldwide. The film received an 85% overall approval rating from Rotten Tomatoes. Critics noted that fear was a common motif throughout the film, and remarked that it had a darker tone compared with previous Batman films. The film was nominated for the Academy Award for Best Cinematography and for three BAFTA awards.[78] It was also listed at No. 81 on Empire's "500 Greatest Movies of All Time"[79] and has maintained a standing on IMDb's "Top 250".[80]
The Dark Knight (2008)



Christian Bale as Batman in The Dark Knight.
Main article: The Dark Knight (film)
Christopher Nolan reprised his duties as director, and brought his brother, Jonathan, to co-write the script for the second installment. The Dark Knight featured Christian Bale reprising his role as Batman/Bruce Wayne, Heath Ledger as The Joker, and Aaron Eckhart as Harvey Dent / Two-Face. Principal photography began in April 2007 in Chicago and concluded in November. Other locations included Pinewood Studios, Ministry of Sound in London and Hong Kong. On January 22, 2008, after he had completed filming The Dark Knight, Ledger died from a bad combination of prescription medication. Warner Bros. had created a viral marketing campaign for The Dark Knight, developing promotional websites and trailers highlighting screen shots of Ledger as the Joker, but after Ledger's death, the studio refocused its promotional campaign.[81][82]
The film received highly positive reviews,[83][84][85] and set numerous records during its theatrical run.[86] With over $1 billion in revenue worldwide, it is the sixteenth-highest-grossing film of all time, unadjusted for inflation.[87] The film received eight Academy Award nominations; it won the award for Best Sound Editing and Ledger was posthumously awarded Best Supporting Actor.
The Dark Knight Rises (2012)
Main article: The Dark Knight Rises
Nolan wanted the story for the third and final installment to keep him emotionally invested. "On a more superficial level, I have to ask the question," he reasoned, "how many good third movies in a franchise can people name?"[88] He returned out of finding a necessary way to continue the story, but feared midway through filming he would find a sequel redundant.[89] The Dark Knight Rises is intended to complete Nolan's Batman trilogy.[90] By December 2008, Nolan completed a rough story outline, before he committed himself to Inception.[91] In February 2010, work on the screenplay was commencing with David S. Goyer and Jonathan Nolan.[92] When Goyer left to work on the Superman reboot, Jonathan was writing the script based on the story by his brother and Goyer.[93] Tom Hardy was cast as Bane and Anne Hathaway plays Selina Kyle.[94] Joseph Gordon-Levitt was cast as John Blake,[95][96] and Marion Cotillard was cast as Miranda Tate. Filming began in May 2011 and concluded in November.[97] Nolan chose not to film in 3-D but, by focusing on improving image quality and scale using the IMAX format, hoped to push technological boundaries while nevertheless making the style of the film consistent with the previous two.[98] Nolan had several meetings with IMAX Vice-President David Keighley to work on the logistics of projecting films in digital IMAX venues.[99] The Dark Knight Rises featured more scenes shot in IMAX than The Dark Knight.[99] Cinematographer Wally Pfister expressed interest in shooting the film entirely in IMAX.[100][101]
Upon release, The Dark Knight Rises received a positive critical response and was successful at the box office, going on to outgross its predecessor and become the ninth-highest-grossing film of all time grossing over $1.08 billion. However, unlike its predecessors, the film was not nominated for any Oscars during its year of eligibility at the 85th Academy Awards, much to the surprise of film industry insiders.[102]
Current and future
Untitled Man of Steel sequel
Further information: Untitled Man of Steel sequel



 The film's logo, with the original scheduled year of release
On June 13, 2013, a source from Warner Bros. told The Wrap that they're discussing the possibilities with mention of more Man of Steel films as well as a Superman/Batman film, Wonder Woman, and Aquaman.[103]
Warner Bros. announced that Superman and Batman will unite in a new film which will be the follow-up to Man of Steel (2013), set for release in 2015.[104][105] According to Snyder, the film will take inspiration from the comic The Dark Knight Returns.[106] Goyer stated at the Superman 75th Anniversary Panel at Comic-Con, that Superman and Batman would face off, and titles under consideration are Superman vs Batman or Batman vs Superman.[107] Production of the film will start filming in Toronto, Ontario instead of Vancouver in 2014.[108]
On August 22, 2013, The Hollywood Reporter announced the casting of Ben Affleck as Bruce Wayne/Batman.[109][110]
On January 17, 2014, it was announced that the film had been delayed from its original July 17, 2015 release date to May 6, 2016, in order to give the filmmakers "time to realize fully their vision, given the complex visual nature of the story".[111]
Animated films
Featuring Batman
1993: Mask of the Phantasm, a theatrical feature based on Batman: The Animated Series
1998: SubZero, a direct-to-video feature also based on Batman: The Animated Series
2000: Return of the Joker, a direct-to-video feature based on Batman Beyond
2003: Mystery of the Batwoman, a direct-to-video feature based on The New Batman Adventures
2005: The Batman vs. Dracula, a direct-to-video feature based on The Batman.
2010: Under the Red Hood, based on Batman: Under the Hood
2011: Year One, based on the graphic novel
2012: The Dark Knight Returns - Part 1, adapting the first half of the graphic novel
2013: The Dark Knight Returns - Part 2, adapting the second half of the graphic novel
2013: DC Super Heroes Unite, based on Lego Batman 2: DC Super Heroes
The DVD of the three-part TV episode "Starcrossed" from the Justice League animated series was labelled Starcrossed: The Movie. A similar case was applied with the three-part Superman: The Animated Series episode, "World's Finest", which was released to DVD as The Batman/Superman Movie.
With other heroes
Main article: DC Universe Animated Original Movies
2008: Justice League: The New Frontier, based on the comic book
2009: Superman/Batman: Public Enemies, based on the comic book
2010: Justice League: Crisis on Two Earths, inspired by JLA: Earth 2[112]
2010: Superman/Batman: Apocalypse, based on the comic book
2012: Justice League: Doom, based on JLA: Tower of Babel
2013: Justice League: The Flashpoint Paradox, based on Flashpoint
Other
2008: Batman: Gotham Knight, a collection of six shorts based on Batman Begins and The Dark Knight
2014: A Lego themed version of Batman will feature as a secondary character in The Lego Movie, voiced by Will Arnett.[113]
Cast and characters
Main article: List of Batman films cast members
Reception
Box office performance

Film
Release date
Box office revenue
Box office ranking
Budget
Reference

Domestic
Foreign
Worldwide
All time domestic
All time worldwide
Batman June 23, 1989 $251,188,924 $160,160,000 $411,348,924 #71
 #50(A) #156 $35,000,000 [114]
Batman Returns June 19, 1992 $162,831,698 $103,990,656 $266,822,354 #206
 #167(A) #338 $80,000,000 [115]
Batman: Mask of the Phantasm December 25, 1993 $5,617,391 N/A $5,617,391 #4,653 N/A N/A [116]
Batman Forever June 16, 1995 $184,031,112 $152,498,032 $336,529,144 #148
 #140(A) #231 $100,000,000 [30]
Batman & Robin June 20, 1997 $107,325,195 $130,881,927 $238,207,122 #460 #394 $125,000,000 [117]
Batman Begins June 15, 2005 $206,852,432 $167,366,241 $374,218,673 #120 #182 $150,000,000 [118]
The Dark Knight July 18, 2008 $534,858,444 $469,700,000 $1,004,558,444 #4
 #29(A) #14 $185,000,000 [119]
The Dark Knight Rises July 20, 2012 $448,139,099 $632,902,188 $1,081,041,287 #7
 #63(A) #8 $250,000,000 [120]
Total $1900844295 $1817499044 $3718343339   $925,000,000 
A light grey cell indicates information is not available.
(A) indicates the adjusted totals based on current ticket prices (calculated by Box Office Mojo).
Batman Begins and The Dark Knight gross includes 2012 re-releases.
Academy Awards

Award
Burton/Schumacher series
Nolan series

Batman
Batman Returns
Batman Forever
Batman & Robin
Batman Begins
The Dark Knight
The Dark Knight Rises
Actor in a Supporting Role      Won (Heath Ledger) 
Art Direction Won     Nomination 
Cinematography   Nomination  Nomination Nomination 
Makeup  Nomination    Nomination 
Editing      Nomination 
Sound Editing   Nomination   Won 
Sound Mixing   Nomination   Nomination 
Visual Effects  Nomination    Nomination 
Critical reaction

Film
Rotten Tomatoes
Metacritic
Batman (1966) 79% (28 reviews)[121] N/A
Batman (1989) 70% (63 reviews)[122] 66 (17 reviews)[123]
Batman Returns 81% (63 reviews)[25] N/A
Batman: Mask of the Phantasm 81% (26 reviews)[124] N/A
Batman Forever 41% (58 reviews)[31] 51 (23 reviews)[125]
Batman & Robin 12% (66 reviews)[37] 28 (21 reviews)[126]
Batman Begins 85% (265 reviews)[127] 70 (41 reviews)[128]
The Dark Knight 94% (289 reviews)[129] 82 (39 reviews)[130]
The Dark Knight Rises 88% (304 reviews)[131] 78 (45 reviews)[132]
Average ratings
67%
63

See also

Portal icon Superhero fiction portal
Portal icon Film in the United States portal
Batman franchise media
Category:Fan films based on Batman
Superman in film
Catwoman



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108.Jump up ^ MAN OF STEEL 2 PRODUCTION DEPARTS VANCOUVER FOR TORONTO
109.Jump up ^ Ben Affleck is Batman for 'Man of Steel' Sequel
110.Jump up ^ Schillaci, Sophie (22 August 2013). "Ben Affleck Is Batman for 'Man of Steel' Sequel". The Hollywood Reporter. Retrieved 23 August 2013.
111.Jump up ^ "Warner Bros. Pictures Pushes Batman vs. Superman Back to 2016". ComingSoon.net. January 17, 2014. Retrieved January 22, 2014.
112.Jump up ^ First Images From ‘Justice League: Crisis On Two Earths’ Hit The ‘Net. Splashpage.mtv.com (September 16, 2009). Retrieved November 26, 2010.
113.Jump up ^ Wednesday (2012-08-29). "LEGO Movie Official Plot Details and Casting Revealed - News". GeekTyrant. Retrieved 2013-04-07.
114.Jump up ^ "Batman (1989)". Box Office Mojo. Retrieved February 9, 2013.
115.Jump up ^ "Batman Returns (1992)". Box Office Mojo. Retrieved February 9, 2013.
116.Jump up ^ "Batman: Mask of The Phantasm (1993)". Box Office Mojo. Retrieved February 9, 2013.
117.Jump up ^ "Batman and Robin (1997)". Box Office Mojo. Retrieved February 9, 2013.
118.Jump up ^ "Batman Begins (2005)". Box Office Mojo. Retrieved February 9, 2013.
119.Jump up ^ "The Dark Knight (2008)". Box Office Mojo. Retrieved February 9, 2013.
120.Jump up ^ "The Dark Knight Rises (2012)". Box Office Mojo. Retrieved February 9, 2013.
121.Jump up ^ "Batman: The Movie (1966)". Rotten Tomatoes. Flixster. Retrieved August 23, 2013.
122.Jump up ^ "Batman". Rotten Tomatoes. Flixster. Retrieved August 22, 2012.
123.Jump up ^ "Batman (1989): Reviews". Metacritic. CBS. Retrieved May 17, 2007.
124.Jump up ^ "Batman: Mask of the Phantasm". Rotten Tomatoes. Flixster. Archived from the original on 30 January 2008. Retrieved 2008-01-21.
125.Jump up ^ "Batman Forever (1995): Reviews". Metacritic. CBS. Retrieved May 17, 2007.
126.Jump up ^ "Batman & Robin (1997): Reviews". Metacritic. CBS. Retrieved May 17, 2007.
127.Jump up ^ "Batman Begins". Rotten Tomatoes. Flixster. Retrieved November 2, 2012.
128.Jump up ^ "Batman Begins (2005): Reviews". Metacritic. CBS. Retrieved May 17, 2007.
129.Jump up ^ "The Dark Knight". Rotten Tomatoes. Flixster. Retrieved January 16, 2013.
130.Jump up ^ "The Dark Knight (2008): Reviews". Metacritic. CBS. Retrieved July 18, 2008.
131.Jump up ^ "The Dark Knight Rises". Rotten Tomatoes. Flixster. Retrieved January 16, 2013.
132.Jump up ^ "The Dark Knight Rises (2012): Reviews". Metacritic. CBS. Retrieved July 20, 2012.
External links
Batman franchise overview at Box Office Mojo
The Dark Knight Rises at the Internet Movie Database
Behind Batman: Public Domain Analysis of the Film Franchise


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Batman (album)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the Danny Elfman musical score, see Batman (score).

Batman

Soundtrack album by Prince

Released
June 20, 1989
Recorded
June 1988–March 1989
Paisley Park Studios
Genre
Rock, pop, funk, soul, synthpop
Length
45:52
Label
Warner Bros.
Producer
Prince
Prince chronology

Lovesexy
 (1988) Batman
 (1989) Graffiti Bridge
 (1990)


Batman soundtrack chronology

Batman (score)
 (1989) Batman (album)
 (1989) Batman Returns
 (1992)

Singles from Batman
1."Batdance"
 Released: June 8, 1989
2."Partyman"
 Released: September 15, 1989
3."The Arms of Orion"
 Released: October 16, 1989
4."Scandalous!"
 Released: November 28, 1989
5."The Future"
 Released: May 18, 1990


Professional ratings

Review scores

Source
Rating
Allmusic 2.5/5 stars[1]
Entertainment Weekly B−[2]
IGN (7.7/10)[3]
Mojo favorable[4]
Q 4/5 stars[5]
Rolling Stone 3.5/5 stars[5]
Piero Scaruffi 4/10[6]
Batman is the eleventh studio album by American recording artist Prince and is the soundtrack album to the 1989 film Batman. It was released on June 20, 1989 by Warner Bros. Records. As a Warner Bros. stablemate, Prince's involvement in the soundtrack was designed to leverage the media company's contract-bound talent as well as fulfill the artist's need for a commercial (if not critical) revival. The result was yet another multi-platinum successful cross-media enterprise by Warner Bros., in the vein of Purple Rain. The album was placed #1 on Billboard's album chart for six consecutive weeks. It sold nearly three million copies in the United States alone.


Contents  [hide]
1 Production
2 Ownership complexities
3 Unreleased song information 3.1 "Dance with the Devil"
3.2 "Batdance"
4 Track listing
5 Personnel
6 Chart positions
7 Singles and Hot 100 chart placings
8 References

Production[edit]
The album was quickly recorded in six weeks—from mid-February to late March 1989—and Prince used three tracks recorded earlier: "Electric Chair" was recorded in June 1988; "Scandalous" in October 1988; and "Vicki Waiting" (originally known as "Anna Waiting", named for his then-girlfiend, Anna Garcia) in December 1988. The album was performed entirely by Prince, with a few exceptions; Sheena Easton duets with Prince on "The Arms of Orion", "Trust" features a sampled horn part by Eric Leeds and Atlanta Bliss, and "The Future" features strings by Clare Fischer sampled from the (then-unreleased) 1986 track "Crystal Ball" and samples of the Sounds of Blackness choir. "Batdance" includes a sample of Prince's technician Matthew Larson, and "Partyman" features the vocal performance of then-girlfriend Anna Garcia (credited as Anna Fantastic).[7] All dialogue sampled on Prince's Batman album is taken directly from a workprint of Batman and therefore lacks ADR and foley. This is especially noticeable in the beginning of the first track, "The Future", with dialogue of Michael Keaton speaking as Batman.
In the album's liner notes the lyrics of each song are associated with one of the characters in the film.
Ownership complexities[edit]
Ownership of the Batman franchise is notoriously complex. Prince had to agree to sign the publishing rights to the songs used in the movie over to Warner Bros.; therefore, Prince's hit singles from this album were not permitted to appear on any of his hits compilations, only the B-side singles "200 Balloons", "Feel U Up" and "I Love U in Me". Even on the concert T-shirts, which listed all of Prince's album titles to date, the song "Scandalous!" appeared in place of the album Batman. Despite this, Prince has performed a number of the album's tracks in concert over the years. A 2005 special edition DVD of the Batman movie contains Prince's related videos as a bonus feature (although "Partyman" is still edited down from the original longer version, much to the chagrin of fans). Wedged between Lovesexy and Graffiti Bridge, the soundtrack serves as Prince's final album contribution of the 1980s.
Unreleased song information[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2009)



 The cassette version of the album.
"Dance with the Devil"[edit]
One of the main songs slated for inclusion on Prince's Batman album was the 7:54 "Dance with the Devil". The song was pulled at the last minute and replaced with an edited version of the chaotic "Batdance", reportedly because Prince deemed "Dance with the Devil" to be too dark. "Dance with the Devil" samples Jack Nicholson's dialogue as The Joker, as well as the sound of falling rain. "Dance with the Devil" is officially unreleased; however, it is circulating amongst tape traders.
"Batdance"[edit]
An alternate, 8:55 version of "Batdance" is also circulating within amongst tape traders. The song is notable for showcasing scenes with dialogue cut from the final version of Batman. Some radio stations played a version of the song mixed with dialogue from the 1960s Batman television series.
Track listing[edit]

No.
Title
Writer(s)
Length

1. "The Future"   Prince 4:07
2. "Electric Chair"   Prince 4:08
3. "The Arms of Orion" (with Sheena Easton) Prince, Sheena Easton 5:02
4. "Partyman"   Prince 3:11
5. "Vicki Waiting"   Prince 4:52
6. "Trust"   Prince 4:24
7. "Lemon Crush"   Prince 4:15
8. "Scandalous!"   Prince, John L. Nelson 6:15
9. "Batdance"   Prince 6:13
Personnel[edit]
Prince - all other vocals and instruments
Eric Leeds - saxophone (6)
Atlanta Bliss - trumpet (6)
Sounds of Blackness - choir (1)
Sheena Easton - co-lead vocals (3)
Clare Fischer - orchestration (1)
[8]
Chart positions[edit]

Chart (1989)
Peak
 position
US Billboard 200[9] 1
US Billboard R&B Albums[9] 1
UK Albums Chart[10] 1
Singles and Hot 100 chart placings[edit]
"Batdance" (#1 US, #1 US R&B, #2 UK)
1."Batdance" (edit)
2."200 Balloons"
3."Batdance" (The Batmix) (maxi-single)
4."Batdance" (Vicki Vale Mix) (maxi-single)
"Partyman" (#18 US, #5 US R&B, #14 UK)
1."Partyman"
2."Feel U Up"
3."The Purple Party Mix" (maxi-single)
4."Partyman" (music mix) (maxi-single)
5."Partyman" (video mix) (maxi-single)
"The Arms of Orion"
1."The Arms of Orion" with Sheena Easton (#36 US, #27 UK)
2."I Love U in Me"
"Scandalous!" (US) (#5 US R&B)
1."Scandalous!"
2."When 2 R in Love"
3."The Crime" ("The Scandalous Sex Suite" maxi-single)
4."The Passion" ("The Scandalous Sex Suite" maxi-single)
5."The Rapture" ("The Scandalous Sex Suite" maxi-single)
6."Sex" "The Scandalous Sex Suite" maxi-single
"The Future" (UK/Germany)
1."The Future" (Remix)
2."Electric Chair" (Remix)
References[edit]
1.Jump up ^ Erlewine, Stephen Thomas. "Prince: Batman" at AllMusic. Retrieved 15 September 2011.
2.Jump up ^ Browne, David (21 September 1990). "Purple Products". Entertainment Weekly (Time) (#32). ISSN 1049-0434. Retrieved 15 September 2011.
3.Jump up ^ Spence D. (24 July 2008). "Prince - Batman Motion Picture Soundtrack". IGN. Retrieved 15 September 2011.
4.Jump up ^ Simmons, Sylvie (1996). "Prince: The Best of the Patchy Years" (free registration required). Mojo (Bauer Media Group). ISSN 1351-0193. Retrieved 15 September 2011.
5.^ Jump up to: a b "Batman Soundtrack CD Album". cduniverse.com. Retrieved 15 September 2011.
6.Jump up ^ Scaruffi, Piero (1999). "Prince". pieroscaruffi.com. Retrieved January 17, 2014.
7.Jump up ^ Alex Hahn (2003). "Possessed: The Rise And Fall Of Prince". Billboard Books.
8.Jump up ^ http://princevault.com/index.php/Album:_Batman
9.^ Jump up to: a b "Batman: Charts & Awards > Billboard Albums" at AllMusic. Retrieved 23 May 2010.
10.Jump up ^ "Batman (OST)". chartstats.com. Archived from the original on 2013-01-19. Retrieved 15 September 2011.
Preceded by
Flowers in the Dirt by Paul McCartney UK number one album
 July 1, 1989 – July 7, 1989 Succeeded by
Velveteen by Transvision Vamp
Preceded by
The Raw & the Cooked by Fine Young Cannibals Billboard 200 number-one album
 July 22, 1989 – September 1, 1989 Succeeded by
Repeat Offender by Richard Marx


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Batman (score)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the Prince music soundtrack to the film, see Batman (album).

Batman: Original Motion Picture Score

Film score by Danny Elfman

Released
May 1989
Genre
Soundtrack
Length
54:45
Label
Warner Bros.
Producer
Danny Elfman and Steve Bartek
Danny Elfman chronology

Beetlejuice
 (1988) Batman
 (1989) Dick Tracy
 (1990)


Batman soundtrack chronology

 Batman (score)
 (1989) Batman (album)
 (1989)


Professional ratings

Review scores

Source
Rating
AllMusic 4.5/5 stars
Filmtracks 5/5 stars
Movie Music UK 5/5 stars
Movie Wave 4/5 stars
Music From The Movies favorable
Score Sounds 9.5/10 stars
Soundtrack Express 5/5 stars
SoundtrackNet 4.5/5 stars
Static Mass Emporium 5/5 stars
Batman: Original Motion Picture Score is the score album for the 1989 film Batman by Danny Elfman. According to the Batman DVD Special Edition, Elfman said that producer Jon Peters was not sure about him as a composer until Tim Burton made him play the main titles. Elfman admitted he was stunned when Peters announced that the score would be released on its own album, as releasing a separate score album for a film was something that was rarely done in the 1980s. Elfman's "The Batman Theme" went on to become an iconic piece. It served as the basis for the theme music of Batman: The Animated Series, which premiered in 1992, although this was later changed. Some parts of the Elfman score are also heard in Lego Batman: The Videogame and Lego Batman 2: DC Superheroes. Parts are also played in the queue, and on the station platform of Batman the Ride at various Six Flags theme parks.


Contents  [hide]
1 Track listing 1.1 Complete score
2 Chart positions
3 References

Track listing[edit]
1."The Batman Theme" (2:38)
2."Roof Fight" (1:20)
3."First Confrontation" (4:43)
4."Kitchen, Surgery, Face-off" (3:07)
5."Flowers" (1:51)
6."Clown Attack" (1:45)
7."Batman to the Rescue" (3:56)
8."Roasted Dude" (1:01)
9."Photos/Beautiful Dreamer" (2:27)
10."Descent into Mystery" (1:31)
11."The Bat Cave" (2:35)
12."The Joker's Poem" (0:56)
13."Childhood Remembered" (2:43)
14."Love Theme" (1:30)
15."Charge of the Batmobile" (1:41)
16."Attack of the Batwing" (4:44)
17."Up the Cathedral" (5:04)
18."Waltz to the Death" (3:55)
19."The Final Confrontation" (3:47)
20."Finale" (1:45)
21."Batman Theme (Reprise)" (1:28)
Complete score[edit]
La-La Land Records released Danny Elfman's complete score to Batman on July 27, 2010.[1]
Disc One: Original Score (film version)
1."Main Title"* (2:42)
2."Family*/First Batman*/Roof Fight*" (3:24)
3."Jack Vs. Eckhardt"* (1:37)
4."Up Building*/Card Snap*" (1:54)
5."Bat Zone*/Axis Set-Up*" (1:55)
6."Shootout"* (5:42)
7."Dinner Transition*/Kitchen Dinner* (**)/Surgery*" (3:00)
8."Face–Off* (**)/Beddy Bye*" (3:59)
9."Roasted Dude"* (1:03)
10."Vicki Spies (Flowers)"* (1:56)
11."Clown Attack"* (1:59)
12."Photos*/Beautiful Dreamer* (***)" (2:30)
13."Men at Work"* (0:33)
14."Paper Spin*/Alicia’s Mask*" (0:30)
15."Vicki Gets a Gift"* (1:13)
16."Alicia’s Unmasking"* (1:10)
17."Batman to the Rescue*/Batmobile Charge*/Street Fight*" (4:25)
18."Descent into Mystery"* (1:33)
19."Bat Cave*/Paper Throw*" (2:48)
20."The Joker’s Poem"* (0:59)
21."Sad Pictures"* (0:38)
22."Dream*/Challenge*/Tender Bat Cave* (**)" (4:28)
23."Charge of the Batmobile"* (1:43)
24."Joker Flies to Gotham (Unused)*/Batwing I*" (0:31)
25."Batwing II*/Batwing III*" (6:02)
26."Cathedral Chase"* (5:07)
27."Waltz to the Death"* (3:58)
28."Showdown I*/Showdown II*" (5:05)
29."Finale"* (**) (1:47)
30."End Credits"* (1:29)
Disc Two: Original Soundtrack Album (remastered)
1."The Batman Theme" (2:37)
2."Roof Fight" (1:22)
3."First Confrontation" (4:43)
4."Kitchen/Surgery/Face–Off"** (3:09)
5."Flowers" (1:51)
6."Clown Attack" (1:46)
7."Batman to the Rescue" (3:57)
8."Roasted Dude" (1:02)
9."Photos/Beautiful Dreamer"*** (2:31)
10."Descent into Mystery" (1:33)
11."The Bat Cave" (2:35)
12."The Joker’s Poem" (0:59)
13."Childhood Remembered" (2:43)
14."Love Theme"** (1:30)
15."Charge of the Batmobile" (1:41)
16."Attack of the Batwing" (4:45)
17."Up the Cathedral" (5:05)
18."Waltz to the Death" (3:56)
19."The Final Confrontation" (3:48)
20."Finale" (**) (***) (1:46)
21."Batman Theme Reprise" (1:31)
Bonus Cues
22."News Theme"* (0:11)
23."Joker’s Commercial"* (1:23)
24."Joker’s Muzak (unused)"* (1:15)
25."Main Title (alt 1)"* (2:42)
26."Photos*/Beautiful Dreamer (alt)* (**)" (2:33)
27."Batman to the Rescue (original ending)"* (0:52)
28."Charge of the Batmobile (film edit)"* (1:47)
29."Main Title (alt 2)"* (2:47)
(*) Previously unreleased
 (**) includes "Scandalous!" composed by Prince with John L. Nelson
 (***) includes "Beautiful Dreamer" composed by Stephen Foster
Chart positions[edit]

Chart (1989)
Peak
 position
U.S. Billboard 200[2] 30
References[edit]
1.Jump up ^ "LA LA LAND RECORDS, Film Scores, Music Scores, Film Music,Film Composers,MovieMusic, Composers, Film Composers, Movie Composers, Soundtrack Composers". Lalalandrecords.com. Retrieved 2011-01-02.
2.Jump up ^ "Billboard Albums: Batman: Original Motion Picture Soundtrack". Allmusic. Retrieved 2010-05-23.


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Batman Returns
From Wikipedia, the free encyclopedia
Jump to: navigation, search

For the video game based on the film, see Batman Returns (video game).

Batman Returns
Batman returns poster2.jpg
Theatrical release poster

Directed by
Tim Burton
Produced by
Tim Burton
Denise Di Novi
Screenplay by
Daniel Waters
Story by
Sam Hamm
 Daniel Waters
Based on
Batman
 by Bob Kane
Starring
Michael Keaton
Danny DeVito
Michelle Pfeiffer
Christopher Walken
Michael Gough
Pat Hingle
Michael Murphy
Music by
Danny Elfman
Cinematography
Stefan Czapsky
Editing by
Chris Lebenzon
 Bob Badami
Studio
PolyGram Filmed Entertainment
Distributed by
Warner Bros.
Release dates
June 19, 1992 (United States)

Running time
126 minutes
Country
United States
Language
English
Budget
$80 million[1]
Box office
$266,822,354[2]
Batman Returns is a 1992 American superhero fantasy film produced and directed by Tim Burton, based upon the Batman character appearing in magazines published by DC Comics. It is the second installment of Warner Bros.' initial Batman film series, with Michael Keaton reprising the title role of Bruce Wayne/Batman. The film introduces the characters of Max Shreck (Christopher Walken), a business tycoon who teams up with the Penguin (Danny DeVito) to take over Gotham City, as well as the character of Catwoman (Michelle Pfeiffer).
Burton originally did not want to direct another Batman film because of his mixed emotions toward the previous film in 1989. Daniel Waters delivered a script that satisfied Burton; Wesley Strick did an uncredited rewrite, removing the characters of Harvey Dent and Robin and rewriting the climax. Before Pfeiffer's casting, Demi Moore and Nicole Kidman were each offered the role of Catwoman, but both of them turned it down. Filming of Batman Returns started in Burbank, California in June 1991.
Batman Returns was released on June 19, 1992 to financial and critical success, though it caused some controversy for being darker than its predecessor. The film's budget was an estimated $80 million, while it made $45,687,710 in the United States during its opening weekend (June 19–21, 1992), grossing $282,800,000 worldwide.[3] The film was nominated for the Academy Awards for Best Visual Effects and Best Makeup, as well as winning the Saturn Award for Best Makeup. It was also nominated for a Saturn Award in the categories of Best Fantasy Film, Best Director for Burton, Best Supporting Actor for DeVito and Best Costume.[3]


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Design and effects
3.4 Music
4 Release 4.1 Critical reception
4.2 Awards and nominations
4.3 Legacy
5 References
6 External links 6.1 Film analysis


Plot[edit]
In Gotham City, a wealthy couple, Tucker and Ester Cobblepot (Paul Reubens and Diane Salinger) throw their deformed infant son into the sewer; the boy survives, however, and is found by a flock of penguins. Thirty-three years later, the child, Oswald Cobblepot (Danny DeVito), resurfaces as a criminal, the Penguin, who kidnaps millionaire industrialist Max Shreck (Christopher Walken). With evidence of his corporate crimes, Cobblepot blackmails Shreck into helping him leave the sewers to become part of Gotham's elite. The Penguin arranges for the Mayor's child to be kidnapped, whom he then "rescues" in order to set himself up as a public hero. Late one night, upon returning to his office, Shreck surprises his secretary Selina Kyle (Michelle Pfeiffer), in the course of her preparation for his meeting with Bruce Wayne (Michael Keaton) regarding Shreck's proposed power plant.
While innocently pulling relevant documents, Selina accesses Shreck's protected files, uncovering compromising information, revealing that the plant will drain Gotham's power supply. Realizing Selina knows too much, Shreck pushes her out of a window, leaving her for dead on the ground many stories below. Selina survives the fall after being revived by alley cats. She returns to her apartment, then suffers a psychotic break and reinvents herself as Catwoman, a catsuit-clad burglar dedicated to getting revenge on her boss. Shreck then hatches a plan to recall Gotham City's current mayor (Michael Murphy) and elect the Penguin in his place, in order to cement his control over the city and complete his power plant project. The Penguin's gang of circus performers cause chaos around Gotham to create bad press for the Mayor. Meanwhile, Bruce's alter-ego Batman tries to defend Gotham from Catwoman and the Penguin's gang.
Meanwhile, Bruce and Selina meet in person and begin a romantic relationship, a situation complicated by Catwoman's teaming with the Penguin in an effort to rid Gotham of Batman. They kidnap The Ice Princess (Cristi Conaway), a woman chosen to turn on the Gotham Christmas Tree lights, and frame Batman for the crime. Finding The Princess balancing precariously on the ledge of a high building, Batman tries to save her, but to no avail; the Penguin unleashes an umbrella full of bats which frighten The Princess into plunging to her death, and makes it look like Batman killed her. When Catwoman rejects his advances, the Penguin tries, unsuccessfully, to kill her. When Batman returns to the Batmobile, he finds that the Penguin has sabotaged it; as the Penguin takes the Batmobile on a remote-controlled rampage through Gotham, he gloats about fooling the entire city. Batman ultimately escapes the Penguin's trap, however. When Bruce exposes the Penguin's plans to dupe Gotham, thereby ruining his election chances, the Penguin initiates a plan to murder all of Gotham's first-born sons by kidnapping and taking them into his lair to drown them in a pool of water that has been contaminated with Shreck's toxic waste.
He personally attempts to take Max's son, Charles "Chip" Shreck (Andrew Bryniarski), but agrees to take Max instead. Batman foils the Penguin's scheme, whereupon the Penguin then decides to launch missiles around Gotham using mind-controlled penguins. However, Batman is able to jam the frequency used to control the penguins and has missiles launched at the Penguin's base. Batman confronts the Penguin, which culminates in the Penguin falling into the toxic waters in his lair. Batman tries to persuade Catwoman to turn Shreck over to the police, even unmasking himself in the process, but Shreck draws a gun. Catwoman claims that she still has six of her nine lives left, and remains standing after Shreck shoots her four times. Catwoman uses a taser which she took from a circus clown's body earlier in the film to cause an explosion, electrocuting Shreck and apparently sacrificing herself (using up her "eighth life"). The Penguin then emerges from the toxic water and tries to kill Batman, but he succumbs to his wounds. His penguins then take his body into the sewer waters as a final resting place.
Later, Bruce is being driven around the city at night with butler Alfred Pennyworth (Michael Gough) and sees what looks like Catwoman's shadow on a wall. Alfred stops the car, and Bruce finds Selina's cat Miss Kitty, which he takes with him and leaves. It's implied she's leaving the cat with him. As the Bat-Signal lights up the night sky, Catwoman rises up into the foreground, gazing up at the signal.
Cast[edit]
Michael Keaton as Bruce Wayne / Batman: While continuing his quest as Gotham City's sole protector, he meets Selina Kyle and clashes with Catwoman. He must also foil the Penguin's scheme to become mayor of Gotham.
Michelle Pfeiffer as Selina Kyle / Catwoman: Formerly a quiet and shy secretary for Max Shreck, Selina transforms into Catwoman after Shreck tries to kill her. She becomes a romantic interest for Bruce Wayne and a deadly adversary for Batman.
Danny DeVito as Oswald Cobblepot / The Penguin: Born deformed and abandoned by his aristocratic parents, he spends his life in the sewers of Gotham City. He forms an alliance with Max Shreck so he can enter Gotham high society and run for mayor, but his real intentions are to kill every first-born son in Gotham City.
Christopher Walken as Max Shreck: A powerful, ruthless business mogul who serves as Selina Kyle's boss and the Penguin's ally. He seeks to build a power plant in order to bring Gotham to its knees. He is inspired by the actor Max Schreck, who famously portrayed Count Orlok in the silent film Nosferatu.
Michael Gough as Alfred Pennyworth: Bruce Wayne's faithful butler.
Pat Hingle as Commissioner Gordon: The police commissioner of Gotham City.
Michael Murphy as the Mayor: The Mayor of Gotham City, who opposes Max Shreck's proposal to build the power plant. Shreck retaliates by working with the Penguin to have him recalled.
Andrew Bryniarski as Charles "Chip" Shreck: Max Shreck's son and right-hand man.
Cristi Conaway as the Ice Princess: A holiday-themed beauty queen who is kidnapped and eventually killed by the Penguin.
Vincent Schiavelli and Anna Katarina portray two of the Penguin's lackeys. Paul Reubens and Diane Salinger, who both appeared in Burton's Pee-wee's Big Adventure, have cameo appearances as the Penguin's parents, Tucker and Esther Cobblepot. Elizabeth Sanders, the wife of Batman co-creator Bob Kane, cameos as a Gotham citizen.
Production[edit]
Development[edit]
After the success of Batman, Warner Bros. was hoping for a sequel to start filming in May 1990 at Pinewood Studios. They spent $250,000 storing the sets from the first film. Tim Burton had mixed emotions about directing another film in the franchise after his experiences with the previous film. "I will return if the sequel offers something new and exciting", he said in 1989. "Otherwise it's a most-dumbfounded idea."[4] Burton decided to direct Edward Scissorhands for 20th Century Fox. Meanwhile, Sam Hamm from the previous film delivered the first two drafts of the script, while Bob Kane was brought back as a creative consultant.[5] Hamm's script had Penguin and Catwoman going after hidden treasure.[6]
Burton was impressed with Daniel Waters' work on Heathers; Burton originally brought Waters aboard on a sequel to Beetlejuice. Warner Bros. then granted Burton a large amount of creative control, demoting producers Jon Peters and Peter Guber to executive producers. Dissatisfied with the Hamm script, Burton commissioned a rewrite from Waters.[5][7][8] Waters "came up with a social satire that had an evil mogul backing a bid for the Mayor's office by the Penguin", Waters reported. "I wanted to show that the true villains of our world don't necessarily wear costumes."[6] The plot device of Penguin running for Mayor came from the 1960s TV series episodes "Hizzoner the Penguin" and "Dizzoner the Penguin".[6] Waters wrote a total of five drafts.[8]
On the characterization of Catwoman, Waters explained "Sam Hamm went back to the way comic books in general treat women, like fetishy sexual fantasy. I wanted to start off just at the lowest point in society, a very beaten down secretary."[7] Harvey Dent appeared in early drafts of the script, but was deleted. Waters quoted, "Sam Hamm definitely planned that. I flirted with it, having Harvey start to come back and have one scene of him where he flips a coin and it's the good side of the coin, deciding not to do anything, so you had to wait for the next movie."[7] In early scripts Max Shreck was the "golden boy" of the Cobblepot family, whereas Penguin was the deformed outsider. It turned out that Shreck would be the Penguin's long-lost brother.[9] Max Shreck was also a reference to actor Max Schreck, known for his role as Count Orlok in Nosferatu.[8] According to casting director Marion Dougherty, Burton was reportedly uncomfortable with casting Christopher Walken as Shreck, on the basis that the actor scared him.[10]
Burton hired Wesley Strick to do an uncredited rewrite. Strick recalled, "When I was hired to write Batman Returns (Batman II at the time), the big problem of the script was Penguin's lack of a 'master plan'."[11] Warner Bros. presented Strick with warming or freezing Gotham City (a plot point later to be used in Batman & Robin). Strick gained inspiration from a Moses parallel that had Penguin killing the firstborn sons of Gotham. A similar notion was used when the Penguin's parents threw him into a river as a baby.[11] Robin appeared in the script, but was deleted because Waters felt the film had too many characters. Waters called Robin "the most worthless character in the world, especially with [Batman as] the loner of loners." Robin started out as a juvenile gang leader, who becomes an ally to Batman. Robin was later changed to a black teenaged garage mechanic.[7] Waters explained, "He's wearing this old-fashioned garage mechanic uniform and it has an 'R' on it. He drives the Batmobile, which I notice they used in the third film!"[7] Marlon Wayans was cast, and signed for a sequel. The actor had attended a wardrobe fitting, but it was decided to save the character for a third installment.[12]
Michael Keaton returned after a significant increase in his salary at $10 million. Annette Bening was cast as Catwoman after Burton saw her performance in The Grifters, but she dropped out due to pregnancy.[6][13] Raquel Welch, Jennifer Jason Leigh, Madonna, Ellen Barkin, Cher, Bridget Fonda and Susan Sarandon were then in competition for the role.[5][14] Sean Young, who was originally cast as Vicki Vale in the first film, believed the role should have gone to her. Young visited production offices dressed in a homemade Catwoman costume, demanding an audition.[15] Burton was unfamiliar with Michelle Pfeiffer's work, but was convinced to cast her after one meeting.[16] Pfeiffer received a $3 million salary ($2 million more than Bening) and a percentage of the box office.[6] Pfeiffer took kickboxing lessons for the role.[17] Kathy Long served as Pfeiffer's body double. On Danny DeVito's casting, Waters explained, "I kind of knew that DeVito was going to play The Penguin. We didn't really officially cast it, but for a short nasty little guy, it's a short list. I ended up writing the character for Danny DeVito."[7]
Filming[edit]



Gotham City Square set built inside Studio 16 on Warner Bros. Studios.
In early 1991, two of Hollywood's largest sound stages (Stage 16 at Warner Bros. and Stage 12 at Universal Studios) were being prepared for the filming of Batman Returns.[6] Filming started in June 1991.[16] Stage 16 held Gotham Plaza, based on Rockefeller Center. Universal's Stage 12 housed Penguin's underground lair. A half-a-million gallon tank filled with water was used.[6] Burton wanted to make sure that the penguins felt comfortable.[16] Eight other locations on the Warner Bros. lot were used, over 50% of their property was occupied by Gotham City sets.[6]
Animal rights groups started protesting the film after finding out that penguins would have rockets strapped on their backs. Richard Hill, the curator of the penguins, explained that Warner Bros. was very helpful in making sure the penguins were comfortable.[18] "On the flight over the plane was refrigerated down to 45 degrees", recalls Hill. "In Hollywood, they were given a refrigerated trailer, their own swimming pool, half-a-ton of ice each day, and they had fresh fish delivered daily straight from the docks. Even though it was 100 degrees outside, the entire set was refrigerated down to 35 degrees."[18]
Warner Bros. devoted a large amount of secrecy for Batman Returns. The art department was required to keep their office blinds pulled down. Cast and crew had to have photo ID badges with the movie's fake working title Dictel to go anywhere near the sets.[19] Kevin Costner was refused a chance to visit the set. An entertainment magazine leaked the first photos of Danny DeVito as the Penguin; in response Warner Bros. employed a private investigator to track down the accomplice.[6] $65 million was spent during the production of Batman Returns, while $15 million was used for marketing, coming to a total cost of $80 million.[1] The final shot of Catwoman looking at the Bat-Signal was completed during post-production and was not part of the shooting script. After Batman Returns was completed Warner Bros. felt it was best for Catwoman to survive, saving more characterizations in a future installment. Pfeiffer was unavailable and a body double was chosen.[5]
Design and effects[edit]
Bo Welch, Burton's collaborator on Beetlejuice and Edward Scissorhands, replaced Anton Furst as production designer, since Furst was unable to return for the sequel due to contractual obligations.[20] Welch blended "Fascist architecture with World's fair architecture" for Gotham City.[21] He also studied Russian architecture and German Expressionism. An iron maiden was used for Bruce Wayne's entry into the Batcave.[22] Stan Winston, who worked with Burton on Edward Scissorhands, designed Danny DeVito's prosthetic makeup, which took two hours to apply.[1] DeVito had to put a combination of mouthwash and red/green food coloring in his mouth "to create a grotesque texture of some weird ooze."[23]



 Michelle Pfeiffer as Catwoman
More than 60 Catsuits were designed in the six-month shoot at $1,000 each.[24] The Batsuit was updated, which was made out of a thinner, slightly more flexible foam rubber material than the suit from Batman. DeVito was uncomfortable with his costume, but this made it easy for him to get into character. J. P. Morgan's wardrobe was used for inspiration on Max Shreck's costume design.[25]
The bats were entirely composed of computer-generated imagery since it was decided directing real bats on set would be problematic.[6] The Penguin's "bird army" was a combination of CGI, robotic creatures, men in suits and even real penguins.[16] Robotic penguin puppets were commissioned by Stan Winston. In total 30 African Penguins and 12 King Penguins were used.[26] A miniature effect was used for the exteriors of the Cobblepot Mansion in the opening scene and for Wayne Manor. The same method was used for the Bat Ski-boat and the exterior shots of the Gotham Zoo.[27]
Music[edit]
Main article: Batman Returns (soundtrack)
Danny Elfman had great enthusiasm for returning because "I didn't have to prove myself from the first film. I remember Jon Peters was very skeptical at first to hire me."[28] Elfman's work schedule was 12 hours a day, 7 days a week. "When completing this movie I realized it was something of a film score and an opera. It was 95 minutes long, twice the amount of the average of film score."[28] Burton allowed Elfman to be more artistic with the sequel score, such as the "scraping" on violins for the cat themes. The musician co-orchestrated "Face to Face", which was written and performed by Siouxsie and the Banshees. The song can be heard in one scene during the film and during the end credits.[28]
Release[edit]
Batman Returns was released in America on June 19, 1992, earning $45.69 million in 2,644 theaters on its opening weekend.[29] This was the highest opening weekend in 1992 and the highest opening weekend of any film up to that point.[30] The film went on to gross $162.83 million in North America, and $104 million in foreign countries, coming to a worldwide total of $266.83 million.[29] Batman Returns was the third highest grossing film in America of 1992,[30] and sixth highest in worldwide totals.[31] The film was declared a financial success, but Warner Bros. felt the film should have been more successful. A "parental backlash" criticized Batman Returns with violence and sexual references that were unsuitable for children. McDonald's shut down their Happy Meal tie-in for the film.[32] Burton responded, "I like Batman Returns better than the first one. There was this big backlash that it was too dark, but I found this movie much less dark."[16]
Critical reception[edit]
Batman Returns was generally well received by both reviewers and audiences. Based on 66 reviews collected by Rotten Tomatoes, 80% of reviewers enjoyed the film, and the consensus: "Director Tim Burton's dark, brooding atmosphere, Michael Keaton's work as the tormented hero, and the flawless casting of Danny DeVito as The Penguin and Christopher Walken as, well, Christopher Walken, make the sequel better than the first."[33]
Janet Maslin in The New York Times thought that "Mr. Burton creates a wicked world of misfits, all of them rendered with the mixture of horror, sympathy and playfulness that has become this director's hallmark." She described Michael Keaton as showing "appropriate earnestness", Danny DeVito as "conveying verve", Christopher Walken as "wonderfully debonair", Michelle Pfeiffer as "captivating... fierce, seductive", Bo Welch's production design as "dazzling", Stefan Czapsky's cinematography as "crisp", and Daniel Waters's screenplay as "sharp."[34]
Peter Travers in Rolling Stone wrote: "Burton uses the summer's most explosively entertaining movie to lead us back into the liberating darkness of dreams." He praised the performances: "Pfeiffer gives this feminist avenger a tough core of intelligence and wit; she's a classic dazzler... Michael Keaton's manic-depressive hero remains a remarkably rich creation. And Danny DeVito's mutant Penguin—a balloon-bellied Richard III with a kingdom of sewer freaks—is as hilariously warped as Jack Nicholson's Joker and even quicker with the quips."[35]
Desson Howe in The Washington Post wrote: "Director Burton not only re-creates his one-of-a-kind atmosphere, he one-ups it, even two-ups it. He's best at evoking the psycho-murky worlds in which his characters reside. The Penguin holds court in a penguin-crowded, Phantom of the Opera-like sewer home. Keaton hides in a castlelike mansion, which perfectly mirrors its owner's inner remoteness. Comic strip purists will probably never be happy with a Batman movie. But Returns comes closer than ever to Bob Kane's dark, original strip, which began in 1939." He described Walken as "engaging", DeVito as "exquisite" and Pfeiffer as "deliciously purry."[36]
Todd McCarthy in Variety wrote that "the real accomplishment of the film lies in the amazing physical realization of an imaginative universe. Where Burton's ideas end and those of his collaborators begin is impossible to know, but the result is a seamless, utterly consistent universe full of nasty notions about societal deterioration, greed and other base impulses." He praised the contributions of Stan Winston, Danny Elfman, Bo Welch and cinematographer Stefan Czapsky, and in terms of performances, opined that "the deck is stacked entirely in favor of the villains", calling DeVito "fascinating" and Pfeiffer "very tasty."[37]
Conversely, Roger Ebert of the Chicago Sun-Times gave the film two stars, writing: "I give the movie a negative review, and yet I don't think it's a bad movie; it's more misguided, made with great creativity, but denying us what we more or less deserve from a Batman story. No matter how hard you try, superheroes and film noir don't go together; the very essence of noir is that there are no more heroes." He compared the Penguin negatively with the Joker of the first film, writing that "the Penguin is a curiously meager and depressing creature; I pitied him, but did not fear him or find him funny. The genius of Danny DeVito is all but swallowed up in the paraphernalia of the role."[38]
Jonathan Rosenbaum called DeVito "a pale substitute for Jack Nicholson from the first film" and felt that "there's no suspense in Batman Returns whatsoever".[39] Batman comic book writer/artist Matt Wagner was quoted as saying: "I hated how Batman Returns made Batman little more than just another costumed creep, little better than the villains he's pursuing. Additionally, Burton is so blatantly not an action director. That aspect of both his films just sucked."[40]
Ty Burr in Entertainment Weekly gave the film a B-; he wrote that "Burton still hasn't figured out how to tell a coherent story: He's more interested in fashioning pretty beads than in putting them on a string.... Yet for all the wintry weirdness, there's more going on under the surface of this movie than in the original. No wonder some people felt burned by Batman Returns: Tim Burton just may have created the first blockbuster art film."[41]
Batman Returns was also criticized for propagating anti-Semitic overtones, more particularly the Penguin's character as a stereotypical Jew who is out for revenge and murdering every first-born.[42]
Awards and nominations[edit]

Awarding Body
Award
Nominee
Result
Academy Awards Best Visual Effects Michael L. Fink, Craig Barron, John Bruno, Dennis Skotak nomination
Best Makeup Ve Neill, Ronnie Specter, Stan Winston nomination
British Academy Film Awards (BAFTAs) Best Makeup Artist Ve Neill, Stan Winston nomination
Best Special Effects Michael L. Fink, Craig Barron, John Bruno, Dennis Skotak nomination
BMI Film & TV Awards BMI Film Music Award Danny Elfman Won
Golden Raspberry Awards (Razzies) Worst Supporting Actor Danny DeVito nomination
Hugo Awards Best Dramatic Presentation  nomination
MTV Movie Awards Best Kiss Michael Keaton, Michelle Pfeiffer nomination
Best Villain Danny DeVito nomination
Most Desirable Female Michelle Pfeiffer nomination
Saturn Awards Best Fantasy Film  nomination
Best Director Tim Burton nomination
Best Supporting Actor Danny DeVito nomination
Best Make-Up Stan Winston, Ve Neill Won
Best Costumes Bob Ringwood, Mary E. Vogt, Vin Burnham nomination
American Film Institute recognition:
AFI's 100 Years...100 Heroes and Villains: Catwoman (Selina Kyle)—Nominated Villain[43]
The Penguin (Oswald Cobblepot)—Nominated Villain[43]

Legacy[edit]



"After the traumas of the Batman Returns she has amnesia, and she doesn't really remember why she has all these bullet holes in her body, so she goes to relax in Oasisburg. What Gotham City is to New York, Oasisburg is to Las Vegas–Los Angeles–Palm Springs. [It's a] resort area in the middle of the desert. It's run by superheroes, and the movie has great fun at making fun at the whole male superhero mythos. Then they end up being not very good at all deep down, and she's got to go back to that whole Catwoman thing."
—Daniel Waters on his script for Catwoman[7]
Batman Returns was the last film in the Batman film series that featured Tim Burton and Michael Keaton as director and leading actor, respectively. With the following film, Batman Forever, Warner Bros. decided to go in a "lighter" direction to be more mainstream in the process of a family film. Burton was asked to restrict himself to the role of producer and approved of Joel Schumacher as director.[44] With Warner Bros. moving on development for Batman Forever in June 1993, a Catwoman spin-off was announced. Michelle Pfeiffer was to reprise her role, with the character not to appear in Forever because of "her own little movie".[45]
Burton became attached as director, while producer Denise Di Novi and writer Daniel Waters also returned to the Catwoman spin-off with Burton.[46] In January 1994, Burton was unsure of his plans to direct Catwoman or an adaptation of The Fall of the House of Usher.[47] On June 6, 1995, Waters turned in his Catwoman script to Warner Bros., the same day Batman Forever was released. Burton was still being courted to direct. Waters joked, "turning it in the day Batman Forever opened may not have been my best logistical move, in that it's the celebration of the fun-for-the-whole-family Batman. Catwoman is definitely not a fun-for-the-whole-family script."[7] The film labored in development hell for years, with Pfeiffer getting replaced by Ashley Judd. The film ended up becoming the critically panned Catwoman (2004) starring Halle Berry.[48][49]
References[edit]
1.^ Jump up to: a b c Brian D. Johnson (June 22, 1992). "Batman's Return", Maclean's. Retrieved August 14, 2008.
2.Jump up ^ "Batman Returns (1992)". Box Office Mojo. Retrieved July 23, 2012.
3.^ Jump up to: a b http://www.imdb.com/title/tt0103776/
4.Jump up ^ Alan Jones (November 1989). "Batman in Production", Cinefantastique, pp. 75—88. Retrieved August 14, 2008.
5.^ Jump up to: a b c d Tim Burton, Sam Hamm, Denise Di Novi, Daniel Waters, Shadows of the Bat: The Cinematic Saga of the Dark Knight—The Dark Side of the Knight, 2005, Warner Home Video
6.^ Jump up to: a b c d e f g h i j Jeffrey Resner (August 1992). "Three Go Mad in Gotham", Empire, pp. 39—46. Retrieved August 14, 2008.
7.^ Jump up to: a b c d e f g h Judy Sloane (August 1995). "Daniel Waters on Writing", Film Review, pp. 67—69. Retrieved August 14, 2008.
8.^ Jump up to: a b c Ken Hanke (1999). "Batman on Burton's Terms". Tim Burton: An Unauthorized Biography of the Filmmaker. Renaissance Books. pp. 117–122. ISBN 1-58063-162-2.
9.Jump up ^ Daniel Waters, Alex Ross, Batman Returns: Villains, 2005, Warner Home Video
10.Jump up ^ "Christopher Walken as Max Shreck". YouTube. September 2, 2011. Retrieved September 16, 2011.
11.^ Jump up to: a b David Hughes (2003). "Batman". Comic Book Movies. Virgin Books. pp. 33–46. ISBN 0-7535-0767-6.
12.Jump up ^ Nathan Rabin (February 25, 1998). "Wayans world". The A.V. Club. Retrieved August 14, 2008.
13.Jump up ^ "'Batman 3'". Entertainment Weekly. October 1, 1993. Archived from the original on September 21, 2008. Retrieved August 16, 2008.
14.Jump up ^ Broeske, Pat H.; Thompson, Anne (August 9, 1991). "Big-Game Hunting". Entertainment Weekly. Retrieved August 14, 2008.
15.Jump up ^ Gerosa, Melina (January 30, 2007). "Odd Woman Out". Entertainment Weekly. Retrieved April 17, 2012.
16.^ Jump up to: a b c d e Mark Salisbury; Tim Burton (2006). "Batman Returns". Burton on Burton. Faber and Faber. pp. 102–114. ISBN 0-571-22926-3.
17.Jump up ^ Broeske, Pat H. (June 12, 1992). "Flashes: Kicking, The Habit". Entertainment Weekly. Retrieved August 14, 2008.
18.^ Jump up to: a b Owain Yolland (August 1992). "Two minutes, Mr Penguin", Empire, pp. 89—90. Retrieved August 14, 2008.
19.Jump up ^ Steve Daly (June 19, 1992). "Sets Appeal: Designing Batman Returns". Entertainment Weekly. Retrieved August 14, 2008.
20.Jump up ^ When hell burst through the pavement and grew: Anton Furst conjured up Batman's Gotham City. In England he was a creator of dreams. But in Hollywood his dreams ended. Simon Garfield reports
21.Jump up ^ Judy Sloane (August 1995). "Bo Welch Interview", Film Review, pp. 66. Retrieved August 14, 2008.
22.Jump up ^ Bo Welch, Tim Burton, Gotham City Revisited: The Production Design of Batman Returns, 2005, Warner Home Video
23.Jump up ^ Danny DeVito, Stan Winston, Making-Up the Penguin, 2005, Warner Home Video
24.Jump up ^ Tim Fennell (August 1992). "The Catsuit", Empire, pp. 47—49. Retrieved August 14, 2008.
25.Jump up ^ Bob Ringwood, Michelle Pfeiffer, Sleek, Sexy and Sinister: The Costumes of Batman Returns, 2005, Warner Home Video
26.Jump up ^ Stan Winston, Assembling the Arctic Army, 2005, Warner Home Video
27.Jump up ^ Stan Winston, Mike Fink, Bats, Mattes and Dark Knights: The Visual Effects of Batman Returns, 2005, Warner Home Video
28.^ Jump up to: a b c Danny Elfman, Inside the Elfman Studios: The Music of Batman Returns, 2005, Warner Home Video
29.^ Jump up to: a b "Batman Returns (1992)". Box Office Mojo. Retrieved August 14, 2008.
30.^ Jump up to: a b "1992 Yearly Box Office Results". Box Office Mojo. Retrieved August 14, 2008.
31.Jump up ^ "1992 Worldwide Grosses". Box Office Mojo. Retrieved August 14, 2008.
32.Jump up ^ Olly Richards (September 1992). "Trouble in Gotham", Empire, pp. 21—23. Retrieved August 14, 2008.
33.Jump up ^ "Batman Returns". Rotten Tomatoes. Retrieved December 7, 2013.
34.Jump up ^ Janet Maslin (June 19, 1992). "Movie Review—Batman Returns". The New York Times. Archived from the original on May 11, 2008. Retrieved November 17, 2009.
35.Jump up ^ Peter Travers (February 7, 2001). "Batman Returns". Rolling Stone. Archived from the original on November 4, 2007. Retrieved August 14, 2008.
36.Jump up ^ Desson Howe (June 19, 1992). "Batman Returns". The Washington Post. Retrieved August 14, 2008.
37.Jump up ^ Todd McCarthy (June 15, 1992). "Batman Returns". Variety. Retrieved August 14, 2008.
38.Jump up ^ "Batman". Roger Ebert. Archived from the original on August 7, 2008. Retrieved August 14, 2008.
39.Jump up ^ Jonathan Rosenbaum (June 19, 1992). "Batman". Chicago Reader. Retrieved August 14, 2008.
40.Jump up ^ Bill "Jett" Ramey (September 30, 2006). "Interview: Matt Wagner". Batman-on-Film. Retrieved August 14, 2008.
41.Jump up ^ Burr, Ty (October 23, 1992). "Video Review: Batman Returns". Entertainment Weekly. Retrieved April 17, 2012.
42.Jump up ^ Roiphe, Rebecca; Cooper, Daniel (July 7, 1992). "'Batman' allegory disturbing". The Gainesville Sun. Retrieved April 24, 2013.
43.^ Jump up to: a b "Nomination list for AFI's 100 Years...100 Heroes and Villains". AFI.com. Retrieved January 7, 2012.
44.Jump up ^ "'Batman 3'". Entertainment Weekly. October 1, 1993. Archived from the original on September 21, 2008. Retrieved August 16, 2008.
45.Jump up ^ Michael Fleming (June 17, 1993). "Dish". Variety. Retrieved August 14, 2008.
46.Jump up ^ Michael Fleming (July 22, 1993). "Another life at WB for Catwoman and Burton?". Variety. Retrieved August 14, 2008.
47.Jump up ^ Michael Fleming (January 13, 1994). "Seagal on the pulpit may be too much for WB". Variety. Retrieved August 14, 2008.
48.Jump up ^ Michael Fleming (April 2, 2001). "WB: Judd purr-fect as Cat". Variety. Retrieved August 14, 2008.
49.Jump up ^ "Catwoman". Rotten Tomatoes. Archived from the original on August 14, 2008. Retrieved August 15, 2008.
External links[edit]

Portal icon Film in the United States portal
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 Wikiquote has a collection of quotations related to: Batman Returns
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Batman Returns at the Internet Movie Database
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Batman Returns at allmovie
Batman Returns at Box Office Mojo
Batman Returns at Rotten Tomatoes
Film analysis[edit]
From Comic To Pfeiffer's Cat Batman-Online.com's in-depth analysis on Tim Burton's Catwoman's comic origins
Possible Comic Influences On Batman Returns Batman-Online.com's in-depth analysis on possible comic book influences of Batman Returns' plotline


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Categories: 1992 films
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Batman Forever
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For other uses, see Batman Forever (disambiguation).

Batman Forever
Batman forever ver7.jpg
Theatrical release poster

Directed by
Joel Schumacher
Produced by
Tim Burton
 Peter MacGregor-Scott
Screenplay by
Lee Batchler
 Janet Scott-Batchler
Akiva Goldsman
Story by
Lee Batchler
 Janet Scott-Batchler
Based on
Batman
 by Bob Kane
Starring
Val Kilmer
Tommy Lee Jones
Jim Carrey
Nicole Kidman
Chris O'Donnell
Michael Gough
Pat Hingle
Music by
Elliot Goldenthal
Cinematography
Stephen Goldblatt
Editing by
Dennis Virkler
Mark Stevens
Studio
PolyGram Filmed Entertainment
 Tim Burton Productions
Distributed by
Warner Bros.
Release dates
June 16, 1995 (United States)

Running time
122 minutes
Country
United States
Language
English
Budget
$100 million[1]
Box office
$336,529,844
Batman Forever is a 1995 American superhero film directed by Joel Schumacher and produced by Tim Burton, based on the DC Comics character Batman. It is the third installment of Warner Bros.' initial Batman film series, with Val Kilmer replacing Michael Keaton as Bruce Wayne/Batman. Also stars Tommy Lee Jones, Jim Carrey, Nicole Kidman and Chris O'Donnell. The plot focuses on Batman trying to stop Two-Face and the Riddler in their villainous scheme to drain information from all the brains in Gotham City. He gains allegiance from a love interest—psychiatrist Dr. Chase Meridian—and a young, orphaned circus acrobat named Dick Grayson, who becomes his sidekick Robin.
The film's tone was different from the previous installments, becoming more family-friendly since Warner Bros. considered that the previous film, Batman Returns (1992), underperformed at the box office due to its violence and dark overtones. Schumacher eschewed the dark, dystopian atmosphere of Burton's films, and drew inspiration directly from the Batman comic book seen in the 1940s/early 1950s, and the 1960s television series. The budget of the film was an estimated $100,000,000. Production was troubled, with many actors considered for the main roles. Filming locations include Alcatraz Island, San Francisco, CA and the Manhattan Bridge in New York City, NY.[2]
The film was released on June 16, 1995. Batman Forever received mixed reviews upon release, with critics praising the cinematography, visuals and art direction but noting that it was campier and more bombastic than previous installments. The film had success with audiences, out-grossing Batman Returns with over $336 million worldwide and becoming the sixth-highest grossing film worldwide of 1995. It made $52,784,433 in the United States for its opening weekend (June 22, 1995) on 2842 screens.[2]


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Design and effects
3.4 Music
4 Deleted scenes
5 Release 5.1 Box office
5.2 Critical reaction
5.3 Accolades
5.4 Merchandising
6 Sequel
7 See also
8 References
9 External links

Plot[edit]
In Gotham City, Batman (Val Kilmer) stops a hostage situation in a bank caused by Two-Face (Tommy Lee Jones), the alter ego of the disfigured former district attorney, Harvey Dent. Unfortunately, Two-Face escapes. Edward Nygma (Jim Carrey), a researcher at Wayne Enterprises, develops a device to beam television directly to a person's brain; Bruce Wayne (with whom Edward is obsessed) rejects the invention, noting that it "raises too many questions", and Edward angrily resigns from his position after killing his supervisor. After meeting psychiatrist Dr. Chase Meridian (Nicole Kidman), Bruce invites her to a charity circus event. There, Two-Face and his henchmen storm the event in an attempt to discover Batman's secret identity, and in the process murder The Flying Graysons, a family of acrobats. The youngest member, Dick (Chris O'Donnell), survives and throws Two-Face's bomb into the river.
Bruce assumes responsibility for Dick and allows him to stay at Wayne Manor. Dick then declares his intention to kill Two-Face and avenge his family's murder, and when he discovers Bruce's secret identity as Batman, he insists on becoming his partner, "Robin". Meanwhile, Edward becomes a criminal known as the "Riddler", the master of puzzles and quizzes and forms an alliance with Two-Face. Using his invention that Bruce had rejected earlier, Edward can read and control people's minds, and steal their intelligence quotient. At a business party, Edward discovers Bruce's secret identity. Two-Face then attacks the party and nearly kills Batman, but Robin arrives just in time to save his life. However, Two-Face and the Riddler later converge into Wayne Manor. The Riddler enters the Batcave and destroys most of the equipment, and he and Two-Face kidnap Chase, while leaving Bruce another riddle.
After solving the last riddle, Batman and Robin locate the Riddler's lair, Claw Island, where both are separated upon reaching the island. Robin then encounters Two-Face and manages to beat him to the ground; realizing that he does not have it in him to commit murder, Robin helps the villain back up. Two-Face gets the upper hand and captures Robin. Meanwhile, Batman manages to make his way into the Riddler's lair, where Robin and Chase are revealed as hostages, bound, gagged with duct tape and held over a watery chasm, giving Batman a choice of saving just one hostage. Batman finds a way to save both hostages, and manages to destroy the brainwave-collecting device, driving the Riddler into a mental breakdown in the process. During the battle, Two-Face falls to his death. The Riddler is finally sent to Arkham Asylum, and Chase is asked to consult on his case. Edward Nygma offers to reveal the identity of Batman to her, but he thinks himself Batman. Chase then meets Bruce Wayne outside and tells him his secret is safe. Batman and Robin then continue to protect Gotham City from crime.
Cast[edit]
Val Kilmer as Bruce Wayne/Batman: After coming across the journal of his father, he starts questioning his act of vengeance. Bruce struggles with his dual identity as a crime fighter, becoming romantically involved with Dr. Chase Meridian.
Tommy Lee Jones as Harvey Dent/Two-Face: Formerly the good district attorney of Gotham City, half of Harvey's face is scarred with acid during the conviction of a crime boss. Driven insane, he becomes the criminal Harvey Two-Face. He flips a coin to determine if he kills (tails) or not (heads).
Jim Carrey as Edward Nygma/The Riddler: A former Wayne Enterprises employee, Edward resigns after his newest invention is personally rejected by Bruce Wayne, with whom he is obsessed. He becomes the villainous Riddler, leaving riddles and puzzles at crime scenes.
Nicole Kidman as Dr. Chase Meridian: A psychologist and love interest of Bruce Wayne. Chase is fascinated by the dual nature of Batman. She is held as a damsel in distress in the climax.
Chris O'Donnell as Dick Grayson/Robin: Once a circus acrobat, Dick is taken in by Bruce after Two-Face murders his parents and brother at a circus event. Bruce is reminded of when his parents were murdered when he sees the same vengeance in Dick, and decides to take him in as his ward. He eventually discovers the Batcave and learns Bruce's secret identity. In his wake, he becomes the crime fighting partner, Robin.
Michael Gough as Alfred Pennyworth: The Wayne family's faithful butler and Bruce's confidant. Alfred also befriends the young Dick Grayson.
Pat Hingle as James Gordon: The police commissioner of Gotham City.
Drew Barrymore as Sugar: Two-Face's "good" assistant.
Debi Mazar as Spice: Two-Face's "bad" assistant.
Elizabeth Sanders as Gossip Gerty: Gotham's top gossip columnist.
René Auberjonois as Dr. Burton: The head Doctor of Arkham Asylum.
Joe Grifasi as Hawkins, the Bank Guard: Two-Face's hostage during the opening scene.
Ofer Samra as Two-Face's thug
Ed Begley, Jr. as Fred Stickley: Edward Nygma's ill-tempered supervisor at Wayne Enterprises. After Stickley discovers the side effect of Edward's invention, Edward kills him and makes it look like suicide. Begley was uncredited for this role.
Production[edit]
Development[edit]
Even though Batman Returns was a financial success, Warner Bros. felt the film should have made more money and decided to make the film series more mainstream. Tim Burton, who had directed the two previous installments, was asked to restrict himself to the role of producer and signed Joel Schumacher as director.[3] After approving Schumacher as director, Burton met with Lee and Janet Scott-Batchler, who agreed with him that "the key element to Batman is his duality. And it's not just that Batman is Bruce Wayne".[4] Burton along with Schumacher hired the Batchers to write the script which introduced a psychotic Riddler with a pet rat accompanying him. The story elements and much of the dialogue still remained in the finished film, though Schumacher felt it could be "lighte[ne]d down". Schumacher claims he originally had in mind an adaptation of Frank Miller's Batman: Year One. The studio rejected the idea as they wanted a sequel, not a prequel, though Schumacher was able to include very brief events in Bruce Wayne's past. He hired Akiva Goldsman, whom he previously had worked for on The Client, to write the second draft of script.[5]
Production went on fast track with Rene Russo cast as Dr. Chase Meridian. Michael Keaton decided not to reprise Batman because he did not like the new direction the film series was heading in.[6] Keaton also wanted to pursue "more interesting roles",[7] turning down $15 million to appear in Batman Forever.[3] Val Kilmer was cast days later, and the filmmakers decided that Russo was too old for Kilmer, replacing her with a different actress.[6] Schumacher got interested in Kilmer for Batman after seeing him in Tombstone, and the actor accepted the role without even reading the script or knowing who the new director was.[8] Before Val Kilmer was cast, Daniel Day-Lewis, Ralph Fiennes, William Baldwin and Johnny Depp were all under consideration to replace Michael Keaton.[9][10] Ethan Hawke turned down the role over fear of typecasting, but later regretted the decision.[11]
Robin Wright, Jeanne Tripplehorn and Linda Hamilton were in competition for Dr. Chase Meridian, with Wright appearing as the favorable choice. Nicole Kidman was eventually cast. Kidman had been previously considered for the role of Catwoman in Batman Returns but turned it down and the role eventually went to Michelle Pfeiffer.[12] Even though Billy Dee Williams took the role of Harvey Dent in Batman because he was looking forward to portraying Two-Face in a sequel, Schumacher cast Tommy Lee Jones in the role.[13] Jones was always Schumacher's first choice for the role after working with him on The Client. Jones claims he was sent the script and was very cautious to accept,[5] but accepted the part because Two-Face was his son's favorite character.[14] Robin Williams expressed interest in the role of The Riddler,[15] while Micky Dolenz was considered early in pre-production by Tim Burton.[16] Michael Jackson was attached to the role[citation needed], but was turned down. Jim Carrey was eventually cast.[17] Robin appeared in the shooting script of Batman Returns but was deleted due to too many characters. Marlon Wayans was cast in the role, and signed for Batman Forever. It was decided to replace Wayans with a white actor,[18] Leonardo DiCaprio and Chris O'Donnell became the top two choices, with O'Donnell winning the part. Mitchell Gaylord served as O'Donnell's stunt double.[12]
Filming[edit]
Filming started in September 1994.[3] Schumacher hired Barbara Ling for production design, claiming that the film needed a "force" and felt Ling could "advance on it". Schumacher wanted a design that was not to be in any way connected to the previous films, and instead was to be inspired by the images from the Batman comic books seen in the 1940s/early 1950s and taken from that of New York City architecture in the 1930s, with a combination of modern Tokyo. He also wanted a "city with personality", with more statues, as well as various amounts of neon.
Schumacher had problems filming with Kilmer, whom he described as "childish and impossible", reporting that he fought with various crewmen, and refused to speak to Schumacher during two weeks after the director told him to stop behaving in a rude way.[6] Schumacher also mentioned Tommy Lee Jones as a source of trouble: "Jim Carrey was a gentleman, and Tommy Lee was threatened by him. I'm tired of defending overpaid, overprivileged actors. I pray I don't work with them again."[19]
Design and effects[edit]
Rick Baker designed the prosthetic makeup. John Dykstra, Andrew Adamson and Jim Rygiel served as visual effects supervisors, with Pacific Data Images also contributing to visual effects work. PDI provided a computer-generated Batman for complicated stunts.[20] For the costume design, producer Peter MacGregor-Scott claimed that 146 workers were at one point working together. Batman's costume was redesigned along the lines of a more "MTV organic, and edgier feel" to the suit.[21] Sound editing and mixing was co-supervised by Bruce Stambler and John Levesque, which included trips to caves to record bat sounds.[22] A new Batmobile was designed for Batman Forever, with two cars being constructed, one for stunt purposes and one for close-ups with both showcasing a V8 engine.[23]
Music[edit]
Further information: Batman Forever (score) and Batman Forever (soundtrack)
Elliot Goldenthal was hired by Schumacher to compose the film score before the screenplay was written, whereas most composers are hired during production. In discussions with Schumacher, the director wanted Goldenthal to avoid taking inspiration from Danny Elfman, and requested an original composition.[24]
The soundtrack was commercially successful, selling almost as many copies as Prince's soundtrack to the 1989 Batman film. Only five of the songs on the soundtrack are actually featured in the movie, the rest are allegedly 'inspired by' Batman Forever – a curious claim, since most, if not all, of the tracks were recorded before the film was even released. Hit singles from the soundtrack include "Hold Me, Thrill Me, Kiss Me, Kill Me" by U2 and "Kiss from a Rose" by Seal, both of which were nominated for MTV Movie Awards. "Kiss from a Rose" (whose video was also directed by Joel Schumacher) reached No. 1 in the U.S. charts as well. The soundtrack itself, featuring additional songs by The Flaming Lips, Brandy (both songs also included in the film), Method Man, Nick Cave, Michael Hutchence (of INXS), PJ Harvey, and Massive Attack, was an attempt to (in producer Peter MacGregor-Scott's words) make the film more "pop".
Deleted scenes[edit]
Batman Forever went through a few major edits before its release. Originally darker than the final product, the movie's original length was closer to two hours and 40 minutes according to director Joel Schumacher. There was talk of an extended cut being released to DVD for the film's 10th anniversary in 2005. While all four previous Batman films were given special edition DVD releases on the same day as the Batman Begins DVD release, none of them were given extended cuts, although some of the following scenes were in a deleted scenes section in the special features.[25]
Many scenes were filmed but deleted from the film, others scenes had footage removed. These included:
The escape of Two-Face from Arkham Asylum. René Auberjonois had another scene filmed here in the role of Doctor Burton, but his role was reduced to a cameo in the final film. He discovers Two-Face's escape, encountering his psychologist hanged in Two-Face's cell with "The Bat Must Die" written in blood on the wall. This was supposed to be the film's opening scene, but producers decided this was far too dark for a family audience. This caused a massive re-edit of the movie. Originally the opening in the final film was meant to be after the scene of Bruce Wayne at Wayne Enterprises. Then after the helicopter scene, would come the death of Stickley. The scene of batman going to the bat signal, only to find Chase, was supposed to be right before the chase sequence of Two-face trying to kill Batman. Chases line, "last night at the bank" was meant to be "last night at the circus". This scene appears in a rough edit on the special edition DVD.
When Two-Face addresses the crowd from the helicopter in the opening action scene, the speech was truncated and several lines that appeared in the Theatrical Trailer were removed, including the line "If the Bat wants to play, we'll play!".
There was a sequence that contained an extended fight scene between Two-Face and Batman, where they both struggle for control of the helicopter. In this scene, Two-Face accuses Batman of being "a killer too", a direct continuity reference to the first two Batman films in which Batman killed the Joker, the Penguin and several of their respective goons. Two-face then manages to escape by the parachute, after Batman realizes he has locked the steering wheel into position. This sequence is included in rough form on the special edition DVD.
A scene right before Edward Nygma arrived at Wayne Manor. It featured Bruce Wayne watching a local Gotham talk show with Chase Meridian as a guest, talking about Batman.
One scene right before Riddler and Two-face team up featured a little conversation with Dick and Bruce in the gym of the manor. This would explain why Dick suddenly has martial art training. This scene appears in a rough edit on the Special Edition DVD.
The scene where the Riddler fails to punch a security guard out. The guard is then brutally beaten, presumably to death.
One sequence came directly after the casino robbery, where Batman follows a robbery signal on a tracking device in the Batmobile. He shows up at the crime scene and finds he is at the wrong place (a beauty salon), in which a room full of girls laugh at him. The Riddler had been throwing Batman off the track by messing with the Batmobile's tracking device. This would explain why in the theatrical version Batman seems to give Riddler and Two-Face moments of free rein over the city. This scene appears in a rough edit on the Special Edition DVD.
The construction of NygmaTech was after Batman solves the third riddle and was more in-depth. There were scenes shot that appear in publicity stills of Edward Nygma with a hard hat helping with the construction of his headquarters on Claw Island.
Sugar and Spice, played by Drew Barrymore and Debi Mazar, try out the Riddler's device during the montage when it goes on sale. They are seated with the Riddler and Two-Face on the couch where Chase is handcuffed later in the film. This scene appears in the comic adaptation but not in the final film.
There was originally a scene after the montage of Alfred and Bruce examining the NygmaTech "Box".
An extended scene established Bruce in the Batcave shortly after having discussed with Dick then that this would have saved his life after the battle with Two-Face in the subway system under construction. In this scene he is appreciated as the GNN news (Bruce watching in the Batcomputer) attacking Batman and Two-Face after the battle in the Subway and after that Bruce talking to Alfred turns into the dilemma of continuing to be Batman and try a normal life with Chase. Like the deleted Helicopter fight sequence, this scene also makes reference to Batman himself being "a killer", and in the original production screenplay, this scene was to contain footage from Batman Returns, specifically taken from the rooftop fight scene with Catwoman. This would explain why in the theatrical version Bruce turns off all the systems and else in the Batcave telling Dick he's gives up being Batman. This scene appears in a rough form on the Special Edition DVD.
Another scene in the Wayne Manor raid sequence was longer, featuring Bruce and Chase fighting Two-Face and his thugs.
The scene involving Chase Meridian on the couch originally included a longer ending where the Riddler injects her with a green sleeping agent so he can easily place her in the small tube with the trap door.
The most well-known deleted scene involved further backstory to the film. It involved Bruce waking up after being shot in the head by Two-Face, temporarily wiping a part of his memory; he has forgotten his origin and life as the Dark Knight. Alfred takes him to the Batcave, which has been destroyed by the Riddler. They stand on the platform where the Batmobile was, and Alfred says, "Funny they did not know about the cave beneath the cave." The platform then rotates downward to another level where the sonar-modification equipment is kept, from the special Batsuit to the hi-tech weaponry. Bruce then discovers the cavern where he first saw the image that inspired him to become Batman – a giant bat. Inside he finds his father's Red Diary. It reminds him of the injustices committed against his family, and of how, in his small way, he felt responsible and helpless. The giant bat then appears and Bruce raises his arms and the shot shows that they are one. Bruce now remembers who he is and goes with Alfred to solve the riddles left throughout the film. Screenwriter Akiva Goldsman admitted the scene was very theatrical on the special edition DVD and felt it would have made a difference to the final cut. The bat was designed and created by Rick Baker, who was in charge of the make-up of Two-Face. This scene appears in a rough form on the special edition DVD and is briefly mentioned in the comic adaptation.
The fight scene between Two-Face and Robin on Claw Island was originally longer.
The original ending was similar in style to the previous Batman films, which had involved a scene with Alfred in the limousine, the camera tracking upward through the Gotham cityscape, followed by a rooftop shot involving a silhouetted hero (Batman in the original, Catwoman in Batman Returns') facing the Bat Signal. When Alfred drives Doctor Chase Meridian back to Gotham she asks him "Does it ever end?" Alfred replies, "No, Doctor Meridian, not in this lifetime..." The Bat-Signal shines on the night sky and Batman is standing on a pillar looking ahead. Robin then comes into shot and joins his new partner. They both leap off the pillar, towards the camera. A rough edit of the first half of the scene appears on the special edition DVD, but not in its entirety. The sequence with Batman and Robin at the end of this scene is not to be confused with a commercial for the video game, whose appears in a teaser trailer for the video game, which is on the VHS release of this film, released in the UK on December 3, 1995.
Release[edit]
Box office[edit]
Batman Forever opened in 2,842 theaters in the United States on June 16, 1995, making $52.78 million in its opening weekend.[1] This was the highest opening weekend of all time up to that point.[26] The film went on to gross $184.03 million in North America, and $152.5 million in international countries, totaling $336.53 million. Batman Forever was declared a huge financial success.[1] The film earned more money than its predecessor Batman Returns,[27] and was the second-highest (behind Toy Story) grossing film of 1995, in the U.S.[26]
Critical reaction [edit]
Batman Forever was released to mixed reviews. Based on 58 reviews collected by the review aggregator website Rotten Tomatoes, 41% of reviewers giving the film a positive review and the consensus: "Loud, excessively busy, and often boring, Batman Forever nonetheless has the charisma of Jim Carrey and Tommy Lee Jones to offer mild relief."[28] Metacritic collected an average score of 51, based on 23 reviews.[29]
Peter Travers said "Batman Forever still gets in its licks. There's no fun machine this summer that packs more surprises." However, he criticized the film's excessive commercialism and felt that "the script misses the pain Tim Burton caught in a man tormented by the long-ago murder of his parents."[30] Brian Lowry of Variety believed "One does have to question the logic behind adding nipples to the hard-rubber batsuit. Whose idea was that supposed to be anyway, Alfred's? Some of the computer-generated Gotham cityscapes appear too obviously fake. Elliot Goldenthal's score, while serviceable, also isn't as stirring as Danny Elfman's work in the first two films."[31]
James Berardinelli enjoyed the film. "It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before."[32] Scott Beatty felt "Tommy Lee Jones played Harvey Dent as a Joker knock-off rather than a multi-layered rogue."[33] Lee Bermejo called Batman Forever "unbearable".[34] Gene Siskel and Roger Ebert both gave the film mixed reviews, but with the former giving it a thumbs up and the latter a thumbs down.[dead link][35] In his written review, Ebert wrote: "Is the movie better entertainment? Well, it's great bubblegum for the eyes. Younger children will be able to process it more easily; some kids were led bawling from Batman Returns where the PG-13 rating was a joke."[36] Mick LaSalle had a mixed reaction, concluding "a shot of Kilmer's rubber buns at one point is guaranteed to bring squeals from the audience."[37]
Accolades[edit]
At the 68th Academy Awards, Batman Forever was nominated for Cinematography (lost to Braveheart), Sound (Donald O. Mitchell, Frank A. Montaño, Michael Herbick and Petur Hliddal; lost to Apollo 13) and Sound Editing (also lost to Braveheart).[38] "Hold Me, Thrill Me, Kiss Me, Kill Me" by U2 was nominated for the Golden Globe Award for Best Original Song (lost to "Colors of the Wind" from Pocahontas), but was also nominated for the Worst Original Song Golden Raspberry Award (lost to "Walk Into the Wind" from Showgirls). At the Saturn Awards, the film was nominated for Best Fantasy Film (lost to Babe), Make-up (lost to Seven), Special Effects (lost to Jumanji) and Costume Design (lost to 12 Monkeys). Composer Elliot Goldenthal was given a Grammy Award nomination. Batman Forever received six nominations at the 1996 MTV Movie Awards, four of which were divided between two categories (Carrey and Lee Jones for Best Villain; and Seal's "Kiss from a Rose" and U2's "Hold Me" in Best Song from a Movie). However, it won in just one category — Best Song from a Movie for Seal's "Kiss from a Rose".
Merchandising[edit]
In addition to a large line of toys and action figures from Kenner, the McDonald's food chain released several collectibles and mugs to coincide with the release of the film. Peter David and Alan Grant wrote separate novelizations of the film.[39][40] Dennis O'Neil authored a comic book adaptation, with art by Michal Dutkiewicz.[41]
Six Flags Great Adventure theme park re-themed their "Axis Chemical" arena, home of the Batman stunt show, to resemble "Batman Forever", and the new show featured props from the film. Because of the mostly negative critical reaction however, the stunt arena was changed back to its original version after the season. Six Flags Over Texas featured a one-time firework show to promote the movie, and replica busts of Batman, Robin, Two-Face, and the Riddler can still be found in the Justice League store in the Looney Tunes U.S.A. section.
Sequel[edit]
In 1997, a sequel titled Batman & Robin was released. It starred George Clooney as Batman, Chris O'Donnell reprising his role as Robin and Arnold Schwarzenegger as Mr. Freeze. Batman Triumphant, a fifth film in the Batman film series, was planned, but after the critical failure of Batman & Robin, it was dismissed.
See also[edit]

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Batman Forever (video game)
Batman Forever: The Arcade Game
Batman Forever (soundtrack)



References[edit]
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23.Jump up ^ Out of the Shadows: The Production Design of Batman Forever (DVD). Batman Forever: Special Edition: Warner Bros. 2005.
24.Jump up ^ Scoring Forever: The Music of Batman Forever (DVD publisher =Warner Bros.). 2005.
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33.Jump up ^ Bill "Jett" Ramey (November 28, 2005). "BOF Interview: Scott Beatty". Batman-on-Film. Retrieved 2008-08-16.
34.Jump up ^ Bill "Jett" Ramey (October 13, 2005). "Interview: Lee Bermejo". Batman-on-Film. Archived from the original on September 15, 2008. Retrieved 2008-08-16.
35.Jump up ^ At the Movies.[dead link]
36.Jump up ^ Roger Ebert. "Batman Forever". rogerebert.com. Archived from the original on July 22, 2008. Retrieved 2008-08-17.
37.Jump up ^ Mick LaSalle (June 16, 1995). "Batman Forever Goes On and On". San Francisco Chronicle. Archived from the original on September 21, 2008. Retrieved 2008-08-17.
38.Jump up ^ "The 68th Academy Awards (1996) Nominees and Winners". oscars.org.
39.Jump up ^ "Batman Forever (Paperback)". Amazon. Retrieved 2008-08-17.
40.Jump up ^ "Batman Forever: The Novelization". Amazon. Retrieved 2008-08-17.
41.Jump up ^ "Batman Forever: The Official Comic Adaptation of Motion Picture". Amazon. Retrieved 2008-08-17.
External links[edit]
 Wikiquote has a collection of quotations related to: Batman Forever
Batman Forever
Batman Forever at allmovie
Batman Forever at Box Office Mojo
Batman Forever at the Internet Movie Database
Batman Forever at the TCM Movie Database
Batman Forever at Rotten Tomatoes


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Batman & Robin (film)
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Batman & Robin
Batman & robin poster.jpg
Theatrical release poster

Directed by
Joel Schumacher
Produced by
Peter MacGregor-Scott
Written by
Akiva Goldsman
Based on
Batman
 by Bob Kane
Starring
Arnold Schwarzenegger
George Clooney
Chris O'Donnell
Uma Thurman
Alicia Silverstone
Michael Gough
Pat Hingle
Elle Macpherson
Music by
Elliot Goldenthal
Cinematography
Stephen Goldblatt
Editing by
Dennis Virkler
Mark Stevens
Distributed by
Warner Bros.
Release dates
June 20, 1997

Running time
125 minutes
Country
United States
Language
English
Budget
$140 million[1]
Box office
$238,207,122
Batman & Robin is a 1997 American superhero film based on the DC Comics character Batman. It is the fourth and final film of Warner Bros.' initial Batman film series. The film was directed by Joel Schumacher, written by Akiva Goldsman, and stars Arnold Schwarzenegger, George Clooney, Chris O'Donnell, Uma Thurman, and Alicia Silverstone. Batman & Robin tells the story of the Dynamic Duo as they attempt to prevent Mr. Freeze and Poison Ivy from freezing all mankind to death and repopulating the earth with mutant plants, while at the same time struggling to keep their partnership together. This is also the only film appearance of Batgirl, who unexpectedly helps the title characters defeat the villains in the end, including Bane.
Development for Batman & Robin began following the box office success of the previous film, Batman Forever. Warner Bros. commissioned the film for a June 1997 release. Schumacher and Goldsman conceived the film's plotline during pre-production on A Time to Kill. Principal photography began in September 1996 and finished in January 1997, two weeks ahead of the shooting schedule.
Batman & Robin was released on June 20, 1997 to negative reviews. Observers criticized the film for its toyetic and camp approach, as well as homosexual innuendo added by Schumacher. Batman & Robin received 11 nominations at the 1997 ceremony of the Razzie Awards, including one for Worst Picture, and frequently ranks among the worst superhero films. After this, Warner Bros. cancelled the unproduced Batman Triumphant, and the film series was eventually rebooted with Batman Begins (2005) by director Christopher Nolan. The song made for the film, "The End Is the Beginning Is the End" by The Smashing Pumpkins, won a Grammy Award for Best Hard Rock Performance at the 40th Grammy Awards. However, it was also nominated for the Golden Raspberry Award for Worst Original Song.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Music
4 Marketing
5 Reception 5.1 Box office
5.2 Critical reaction
5.3 Cancelled sequel and legacy
6 See also
7 References
8 External links

Plot[edit]
Batman and Robin attempt to stop a new villain called Mr. Freeze from stealing a cache of diamonds. The supervillain freezes Robin and flees, warning Batman he has 11 minutes to thaw Robin. They learn that Freeze was scientist Dr. Victor Fries, who became dependent on a diamond-powered subzero suit following an accident in a cryogenics lab he was occupying to find a cure for his wife, Nora, who was suffering from a terminal illness called MacGregor's Syndrome.
Meanwhile, botanist Dr. Pamela Isley is experimenting with the strength serum "Venom" to create mutant plants capable of fighting back against mankind's destruction of flora. She is furious to learn that her senior colleague Dr. Jason Woodrue used her Venom samples to transform a diminutive prisoner into the "super soldier" Bane. When she refuses to become the mad scientist's partner, Woodrue tries to kill her with animal-plant toxins and chemicals, which instead transform her into the stunning but deadly Poison Ivy. She kills Woodrue with a venomous kiss before vowing to use her new powers to establish botanical supremacy over the world.
Alfred Pennyworth's niece Barbara Wilson makes a surprise visit from England and is invited to stay at Wayne Manor until she returns to university. Alfred is revealed to be suffering from MacGregor's Syndrome.
Isley arrives in Gotham City with Bane as her henchman. She interrupts a Wayne Enterprises press conference at the Gotham Observatory, exhorting Bruce Wayne to implement a proposal that would safeguard the natural environment at the expense of millions of human lives, which Bruce summarily dismisses. Later, Isley appears as her costumed alter-ego Poison Ivy at the Gotham Botanical Gardens fundraiser Ball, seducing everyone present with her pheromone dust, including the Dynamic Duo who are there to protect a diamond on auction from Mr. Freeze. When Freeze crashes the event as expected, Poison Ivy is instantly captivated by his "ruthless charm". Although he proves immune to her love dust, she breaks him free from Arkham Asylum after Batman captures and puts him there.
Ivy then proceeds to turn off Nora Fries' life support and makes Mr. Freeze believe Batman did it, thereby persuading him to become her partner so he can take revenge. They plan to turn the Observatory's new telescope into a giant freezing gun in order to freeze the whole world's population to death and replace them with Ivy's mutant plants.
Meanwhile, Robin has become infatuated with Ivy and rebels against Batman, just as the villainess planned, eventually going to meet her at her garden hide-out. Ivy's venomous kiss fails to kill Robin because Batman had finally prevailed on him to coat his lips with rubber. She throws Robin into her lily pond and entangles Batman in her vines, although they are able to free themselves when the mysterious Batgirl arrives and traps Ivy in her own floral throne. Batgirl turns out to be Barbara, who had discovered the Batcave and decided to create her own crime-fighting persona with help from Alfred.
When the Trio arrive at the Observatory to stop Mr. Freeze, the villain has already turned Gotham into an ice cube. Robin and Batgirl are confronted by Bane, but they incapacitate him and restore him to his original human state. The two younger heroes save Gotham by repositioning the observatory's satellites, using their mirrors to reflect sunlight from outer space to thaw the City.
Batman shows Freeze video footage of Ivy gloating to Batgirl about pulling the plug on Nora, and reveals to Freeze that his wife is not dead. He promises that Freeze will be allowed to continue his research at Arkham Asylum to heal Nora. Batman asks Freeze for the cure he created for the first stage of MacGregor's Syndrome for Alfred. Freeze atones for his misdeeds by giving him two vials of the medicine he had developed. Ivy is also locked up in Arkham, with a vengeful Freeze as her cell mate.
Back at Wayne Manor, Alfred is healed, and Bruce invites Barbara to live with them, and continue helping him and Dick fight crime as Batgirl.
Cast[edit]
George Clooney as Bruce Wayne / Batman: A billionaire industrialist who witnessed his parents' murder as a young boy. At night, Bruce becomes Batman, Gotham City's vigilante protector. Eric Lloyd portrays him as a child in a flashback.
Chris O'Donnell as Dick Grayson / Robin: The crime-fighting partner to Batman and ward of Bruce Wayne. He has begun to chafe against Batman's authority.
Arnold Schwarzenegger as Dr. Victor Fries / Mr. Freeze: A Nobel Prize-winning molecular biologist and two-time Olympic decathlete who suffers a terrible accident while trying to cryogenically preserve his terminally ill wife. As a result, he is transformed into a criminal forced to live in a special sub-zero suit powered by diamonds.
Uma Thurman as Dr. Pamela Isley / Poison Ivy: A botanist who becomes a crazed eco-terrorist after being pushed into vials of chemicals, poisons, and toxins.
Alicia Silverstone as Barbara Wilson / Batgirl: Her parents had previously died in a car accident. Alfred, her uncle, was very close to her mother, Margaret. As she is Alfred's niece, Barbara is not Commissioner Gordon's daughter like in the comics, hence why her surname is Wilson instead of Gordon.
Michael Gough as Alfred Pennyworth: The trusted butler for Bruce Wayne and Dick Grayson. Alfred is dying of a rare disease from which Mr. Freeze's wife also suffers.
Pat Hingle as Commissioner James Gordon: The police commissioner of Gotham City. He is close to Batman and informs him of numerous crimes.
John Glover as Dr. Jason Woodrue: A deranged scientist who aims to create Venom-powered "supersoldiers" to sell to dictators and warlords in order to make millions. He is responsible for the creation of both Bane and Poison Ivy, the latter of whom kills him with a kiss from her toxic lips.
Elle Macpherson as Julie Madison: Bruce Wayne's girlfriend. She proposes to Bruce, but he does not respond, fearing for her safety.
Vivica A. Fox as Ms. B. Haven: Mr. Freeze's sexy assistant who flirts with him constantly. He is unresponsive, as he is still in love with his wife.
Vendela Kirsebom as Nora Fries: Mr. Freeze's cryogenically-frozen wife.
Elizabeth Sanders as Gossip Gerty: Gotham's top gossip columnist.
Robert "Jeep" Swenson as Bane: Poison Ivy's bodyguard and muscle, who was originally a diminutive serial murderer named Antonio Diego (portrayed by Michael Reid MacKay). Transformed into a hugely powerful "Super-soldier" by the strength-enhancing drug "Venom", he was seen assisting the main villains in several ways, including getting Mr. Freeze's suit back from Arkham Asylum, and fighting against the main heroes several times. Despite proving more than a match for Batman and Robin earlier on, he is eventually defeated by Robin and Batgirl after they find a way to stop the venom flow to his brain.
Production[edit]
Development[edit]
With the box office success of Batman Forever in June 1995, Warner Bros. instantly commissioned a sequel.[2] They hired director Joel Schumacher and writer Akiva Goldsman to reprise their duties the following August,[3] and decided it was best to fast track production for a June 1997 target release date, which is a break from the usual 3-year gap between films.[2] Schumacher wanted to homage both the broad camp style of the 1960s television series and the work of Dick Sprang.[4] The storyline of Batman & Robin was conceived by Schumacher and Goldsman during pre-production on A Time to Kill.[5] Portions of Mr. Freeze's back-story were based on the Batman: The Animated Series episode "Heart of Ice", written by Paul Dini.[6]
While Chris O'Donnell reprises the role of Robin, Val Kilmer decided not to reprise the role of Batman from Batman Forever. Schumacher admitted he had difficulty working with Kilmer on Forever. "He sort of quit," Schumacher said, "and we sort of fired him."[7] Kilmer said he was not aware of the fast track production and was already committed to The Saint (1997).[3] Schumacher cast George Clooney in the role because he felt the actor could provide a lighter interpretation of the character than Michael Keaton (in Batman and Batman Returns) and Kilmer.[3] The shooting schedule allowed Clooney to simultaneously work on ER without any scheduling conflicts.[4]
Patrick Stewart was considered for the role of Mr. Freeze,[8] before the script was rewritten to accommodate Arnold Schwarzenegger's casting.[9] Schumacher decided that Mr. Freeze must be "big and strong like he was chiseled out of a glacier".[3] Schwarzenegger was paid a $25 million salary for the role.[10][11] His prosthetic makeup and wardrobe took six hours to apply each day.[12] Before Uma Thurman's casting, Demi Moore was considered for the role of Poison Ivy.[8] Thurman took the role because she liked the femme fatale characterization of the character.[3] Alicia Silverstone was the only choice for the role of Batgirl.[8]
Filming[edit]
The original start date was August 1996,[7] but principal photography did not begin until September 12, 1996.[13] Batman & Robin finished filming in late January 1997,[14] two weeks ahead of the shooting schedule.[4] The film was mostly shot at Warner Bros. Studios in Burbank, California.[3]
When comparing work on Batman Forever, Chris O'Donnell, who portrayed Robin, explained, "It just felt like everything got a little soft the second time. On Batman Forever, I felt like I was making a movie. The second time, I felt like I was making a kid's toy commercial."[3] He also complained of the Robin costume, saying it was more involved and uncomfortable than the one he wore in Batman Forever, with a glued-on mask which caused sweat to pool on his face.[15] According to John Glover, who played Dr. Jason Woodrue, "Joel [Schumacher] would sit on a crane with a megaphone and yell before each take, 'Remember, everyone, this is a cartoon'. It was hard to act because that kind of set the tone for the film."[3] Production designer Barbara Ling admitted her influences for the Gotham City design came from "neon-ridden Tokyo and the Machine Age. Gotham is like a World's Fair on ecstasy."[16] Rhythm and Hues and Pacific Data Images created the visual effects sequences, with John Dykstra and Andrew Adamson credited as the visual effects supervisors.[17]
Stunt coordinator Alex Field taught Alicia Silverstone to ride a motorcycle so that she could play Batgirl.[15]
Music[edit]
Main article: Batman & Robin (soundtrack)
Like Batman Forever, the original score for the film was written by Elliot Goldenthal.[18] The soundtrack featured a variety of genres by various bands and performers, showcasing alternative rock on the lead single "The End Is the Beginning Is the End" by The Smashing Pumpkins, on the Goo Goo Dolls' contribution, "Lazy Eye", and with R.E.M.'s song "Revolution". R&B singer R. Kelly also wrote "Gotham City" for the soundtrack, which became the other song featured in the end credits, and one of the singles, reaching the top 10 in the United States and in the UK. Eric Benét and Meshell Ndegeocello also contributed R&B songs. Also included was the top 5 second single, "Look into My Eyes" by the hip hop group Bone Thugs-n-Harmony. Other songs featured included electronic dance elements, including those by Moloko and Arkana. The soundtrack was released on May 27, 1997, a month before the film.[19][20]
Marketing[edit]
The Batman & Robin film trailer debuted on the February 19, 1997 episode of Entertainment Tonight.[21] Warner Bros. spent $15 million to market and promote the film, in addition to its $125 million production budget.[1] The studio also brought in toy companies to be involved with pre-production, including the design of concept art and character illustrations. Director Joel Schumacher criticized Warner Bros.' strategy for Batman & Robin as being overtly toyetic. Various Six Flags parks (Six Flags Great Adventure, Six Flags Over Texas, and Six Flags St. Louis) all debuted coasters themed to the film (all of which have been either closed, or re-themed to resemble the Animated Series).[3]
Reception[edit]
Box office[edit]
Batman & Robin was released on June 20, 1997 in North America, earning $42,872,605 in its opening weekend,[22] making it the third-highest opening weekend of 1997.[23] However, the film rapidly declined with a 63% second-week plunge.[24] Many observers based the second week drop on negative word of mouth. In addition, Batman & Robin faced early competition with Face/Off and Hercules.[1] Schumacher blamed it on yellow journalism started by Harry Knowles of Ain't It Cool News and other film websites such as Dark Horizons.[25] The film went on to gross $107.3 million in North America and $130.9 million internationally, coming to a worldwide total of $238.2 million.[22] Warner Bros. acknowledged Batman & Robin's shortcomings in the domestic market but pointed out success overseas.[1]
Critical reaction[edit]



"If there's anybody watching this, that... let's say, loved Batman Forever, and went into Batman & Robin with great anticipation, if I've disappointed them in any way, then I really want to apologize. Because it wasn't my intention. My intention was just to entertain them."
—Joel Schumacher's apologizing for his work on the film[3]
Batman & Robin was panned by critics. Review aggregator Rotten Tomatoes reports that 12% of critics have given the film a positive review based on 66 reviews, certifying it "Rotten", with an average rating of 3.4/10, the consensus: "Joel Schumacher's tongue-in-cheek attitude hits an unbearable limit in Batman & Robin, resulting in a frantic and mindless movie that's too jokey to care much for."[26] By comparison Metacritic collected an average score of 28, based on 21 reviews which is regarded as "generally unfavorable".[27]
Schumacher and producer Peter MacGregor-Scott blamed the negative reception of Batman & Robin on Warner Bros.' decision to fast track production. "There was a lot of pressure from Warner Bros. to make Batman & Robin more family-friendly," Schumacher explained. "We decided to do a less depressing Batman movie and less torture and more heroic. I know I have been criticized a lot for this, but I didn't see the harm in that approach at all."[3] Roger Ebert of the Chicago Sun-Times criticized the toyetic approach and Mr. Freeze's one-liner jokes in his two-star review of the film.[28] Kenneth Turan of the Los Angeles Times believed the film "killed" the Batman film series, and felt Batman & Robin depended too much on visual effects.[29] Desson Thomson of The Washington Post largely disapproved of Schumacher's direction and Akiva Goldsman's script.[30] Mick LaSalle, writing in the San Francisco Chronicle, said, "George Clooney is the big zero of the film, and should go down in history as the George Lazenby of the series."[31] However, Janet Maslin of The New York Times gave a positive review. She praised Uma Thurman's acting, as well as the production and costume design.[32]
Batman & Robin was nominated for the Saturn Award for Best Fantasy Film, as well as categories for Best Make-up and Best Costume. Alicia Silverstone won the Razzie Award for Worst Supporting Actress. Other nominations at the Razzie Awards included Schumacher (Worst Director), George Clooney and Chris O'Donnell (Worst Screen Couple), Akiva Goldsman (Worst Screenplay), both Chris O'Donnell and Arnold Schwarzenegger (Worst Supporting Actor), Uma Thurman (Worst Supporting Actress), and Billy Corgan (Worst Song for "The End Is the Beginning Is the End"). Batman & Robin also received nominations for Worst Picture, Worst Remake or Sequel and Worst Reckless Disregard for Human Life and Public Property. Ultimately, out of 11 nominations, Batman & Robin' garnered only one Razzie Award.
Many observers thought Schumacher added possible homoerotic innuendo in the storyline.[3] James Berardinelli questioned the "random amount of rubber nipples and camera angle close-ups of the Dynamic Duo's butts and Bat-crotches."[33] Similar to Batman Forever, this primarily included the decision to add nipples and enlarged codpieces to Batman and Robin suits. Schumacher stated, "I had no idea that putting nipples on the Batsuit and Robin suit were going to spark international headlines. The bodies of the suits come from ancient Greek statues, which display perfect bodies. They are anatomically correct."[3] Chris O'Donnell, who portrayed Robin, felt "it wasn't so much the nipples that bothered me. It was the codpiece. The press obviously played it up and made it a big deal, especially with Joel directing. I didn't think twice about the controversy, but going back and looking and seeing some of the pictures, it was very unusual."[3] George Clooney joked, "Joel Schumacher told me we never made another Batman film because Batman was gay".[34] Clooney himself has spoken critically of the film, saying, "I think we might have killed the franchise",[35] and called it "a waste of money".[36]
Cancelled sequel and legacy[edit]
See also: Batman in film#Proposals for fifth film
During the filming of Batman & Robin, Warner Bros. was impressed with the dailies, prompting them to immediately hire Joel Schumacher to return as director for a sequel. However, writer Akiva Goldsman turned down an offer to write the script.[4] In late 1996, Warner Bros. and Schumacher hired Mark Protosevich to write the script for a fifth Batman film. A projected mid-1999 release date was announced.[37] Titled Batman Triumphant, Protosevich's script had the Scarecrow as the main villain. Through the use of his fear toxin, he resurrects the Joker as a hallucination in Batman's mind. Harley Quinn appeared as a supporting character, written as the Joker's daughter.[38] George Clooney and Chris O'Donnell were set to reprise the roles of Batman and Robin, and Jack Nicholson was in negotiations to return as the Joker. However, following the failure of Batman & Robin, Clooney vowed never to reprise his role.[39]
Warner Bros. decided to consider a live-action Batman Beyond film and an adaptation of Frank Miller's Batman: Year One. Warner would then produce whichever idea suited them the most.[40] Schumacher felt he "owe[d] the Batman culture a real Batman movie. I would go back to the basics and make a dark portrayal of the Dark Knight."[41] He approached Warner Bros. about doing Batman: Year One in mid-1998,[41] but they were more interested in hiring Darren Aronofsky. Aronofsky and Frank Miller developed a Year One script with Aronofsky to direct, but it was ultimately canceled. Christopher Nolan was eventually hired to helm the next Batman film in January 2003, resulting in the rebooted Batman Begins (2005).[40]
In "Legends of the Dark Knight", an episode of The New Batman Adventures, three teenagers discuss their ideas about what Batman is really like. They briefly meet a youth called Joel whose idea of Batman reflects characterizations and costumes portrayed within Schumacher's "Batman and Robin". The teens treat Joel's ideas with utter disdain.[42] In Watchmen, director Zack Snyder and comic book artist Dave Gibbons choose to parody the molded muscle and nipple Batsuit design from Batman & Robin for the Ozymandias costume.[43][44] The film is referenced in the Batman: The Brave and the Bold episode "Legends of the Dark Mite!", when Bat-Mite briefly uses his powers to transform Batman's costume into the same suit shown in the Joel Schumacher Batman films, before declaring it "Too icky".[45] The Batman from Batman & Robin later appeared as part of an army of Batmen gathered from across the Multiverse in "Night of the Batmen!", complete with the rubber blue Batsuit. Additionally, while there where worries within Warner Bros., surrounding the negative critical reaction to Batman & Robin and how that may come to harm the success of their subsequent direct-to-video animated feature film, Batman & Mr. Freeze: SubZero, that was originally planned for release at around the same time as Batman & Robin but was subsequently delayed.[46] SubZero, nevertheless, still managed to go on to receive a far stronger positive response from critics, faring much better than Batman & Robin, with Mr. Freeze's role within it being seen in a much more positive rather than negative light, returning his status as a Batman villain to one which was at least a lot closer to the level of popularity that was reached by him within the two Emmy-winning episodes that featured him in Batman: The Animated Series.[46]
See also[edit]

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List of films featuring powered exoskeletons
References[edit]
1.^ Jump up to: a b c d Dave Karger (July 11, 1997). "Big Chill". Entertainment Weekly. Archived from the original on November 21, 2008. Retrieved November 11, 2008.
2.^ Jump up to: a b Michael Fleming (February 21, 1997). "Helmer's 3rd At Bat". Variety. Archived from the original on October 19, 2008. Retrieved November 11, 2008.
3.^ Jump up to: a b c d e f g h i j k l m n Joel Schumacher, Peter MacGregor-Scott, Chris O'Donnell, Val Kilmer, Uma Thurman, John Glover, Shadows of the Bat: The Cinematic Saga of the Dark Knight Part 6-Batman Unbound, 2005, Warner Home Video
4.^ Jump up to: a b c d Michael Mallory; Michael Fleming (March 5, 1997). "Holy caped caper, IV". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
5.Jump up ^ Rick Setlowe (March 5, 1997). "The write kind of director". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
6.Jump up ^ Paul Dini, Batman & Robin: The Heroes, 2005, Warner Home Video
7.^ Jump up to: a b Rebecca Ascher-Walsh (May 31, 1995). "Psycho Kilmer". Entertainment Weekly. Archived from the original on December 1, 2008. Retrieved November 11, 2008.
8.^ Jump up to: a b c Jeff Gordinier; Jeffrey Wells (December 15, 1995). "Bat Signal". Entertainment Weekly. Archived from the original on October 25, 2008. Retrieved November 14, 2008.
9.Jump up ^ Michael Mallory (March 5, 1997). "An ice-cold Arnold sends Batman back to his cave". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
10.Jump up ^ Dave Karger; Cindy Pearlman (March 14, 1997). "The Bat and the Beautiful". Entertainment Weekly. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
11.Jump up ^ Masters, Kim (August 5, 1996). "Hollywood Fades to Red". Time. Retrieved February 19, 2009.
12.Jump up ^ "Summer Movie Preview". Entertainment Weekly. May 16, 1997. Archived from the original on December 3, 2008. Retrieved November 11, 2008.
13.Jump up ^ Degen Pener (September 13, 1996). "Holy Hearsay". Entertainment Weekly. Archived from the original on October 11, 2008. Retrieved November 11, 2008.
14.Jump up ^ Anita M. Busch (January 10, 1997). "Schumacher on 'Popcorn'". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
15.^ Jump up to: a b Allstetter, Rob (August 1997). "The Bat-Box". Wizard (72). p. 120.
16.Jump up ^ Barbara Ling, Bigger, Bolder, Brighter: The Production Design of Batman & Robin, 2005, Warner Home Video
17.Jump up ^ John Dykstra, Andrew Adamson, Freeze Frame: The Visual Effects of Batman & Robin, 2005, Warner Home Video
18.Jump up ^ Chapman, Glen (December 14, 2010). "Music in the movies: Elliot Goldenthal". Den of Geek (Dennis Publishing). Retrieved November 30, 2012.
19.Jump up ^ Browne, David (June 27, 1997). "Batman & Robin". Entertainment Weekly. Retrieved November 30, 2012.
20.Jump up ^ "Awards and Chart positions for Batman & Robin (Music from and Inspired by the Motion Picture)". Allmusic.
21.Jump up ^ Jenny Hontz (February 20, 1997). "Inside Moves". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
22.^ Jump up to: a b "Batman and Robin". Box Office Mojo. Amazon.com. Archived from the original on December 16, 2008. Retrieved November 12, 2008.
23.Jump up ^ "1997 Domestic Grosses". Box Office Mojo. Amazon.com. Archived from the original on December 16, 2008. Retrieved November 12, 2008.
24.Jump up ^ "'Bat' beats up B.O.". Variety. July 8, 1997. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
25.Jump up ^ Rex Weiner (July 29, 1997). "Www.h'w'd.ticked". Variety. Retrieved November 11, 2008.
26.Jump up ^ "Batman & Robin". Rotten Tomatoes. Retrieved March 27, 2013.
27.Jump up ^ "Batman & Robin (1997): Reviews". Metacritic. CBS Interactive. Retrieved April 17, 2010.
28.Jump up ^ Roger Ebert (June 20, 1997). "Batman & Robin". Chicago Sun-Times. Archived from the original on December 16, 2008. Retrieved November 12, 2008.
29.Jump up ^ Kenneth Turan (June 20, 1997). "Batman & Robin". Los Angeles Times. Archived from the original on August 2, 2008. Retrieved November 12, 2008.
30.Jump up ^ Desson Thomson (June 20, 1997). "Batman & Robin". The Washington Post.
31.Jump up ^ Mick LaSalle (June 20, 1997). "Batman Chills Out". San Francisco Chronicle.
32.Jump up ^ Janet Maslin (June 20, 1997). "Batman and Robin". The New York Times.
33.Jump up ^ James Berardinelli. "Batman and Robin". ReelViews.net. Retrieved November 13, 2008.
34.Jump up ^ Sharon Swart; Bill Higgins (June 27, 2005). "'Happy' to sign off". Variety. Archived from the original on December 20, 2008. Retrieved November 11, 2008.
35.Jump up ^ Daniel, Mac (June 12, 2005). "Batman and Robin". The Boston Globe. Retrieved May 17, 2006.
36.Jump up ^ Lynn Hirschberg (November 3, 2002). "Questions for George Clooney; True Confessions". The New York Times.
37.Jump up ^ Michael Fleming (February 21, 1997). "Helmer's 3rd At Bat". Variety. Archived from the original on October 19, 2008. Retrieved October 17, 2008.
38.Jump up ^ Brian Linder (July 27, 2000). "Rumblings From Gotham". IGN. Retrieved October 17, 2008.
39.Jump up ^ Michael Fleming (November 11, 1997). "Schumacher trims sails". Variety. Archived from the original on December 16, 2008. Retrieved November 11, 2008.
40.^ Jump up to: a b David Hughes (March 2004). "The Dark Knight Strikes Out". Tales From Development Hell. London: Titan Books. pp. 192–211. ISBN 1-84023-691-4.
41.^ Jump up to: a b Jeff Jensen (December 4, 1998). "Winging It". Entertainment Weekly. Archived from the original on October 19, 2008. Retrieved October 17, 2008.
42.Jump up ^ "Legends of the Dark Knight". Dan Riba (director), Bruce Timm; Robert Goodman (writers). Batman: The Animated Series. October 10, 1998. No. 19, season 2.
43.Jump up ^ Frosty (June 26, 2008). "Exclusive Zack Snyder Video Interview Backstage at Saturn Awards". Collider.com. Archived from the original on November 21, 2008. Retrieved November 14, 2008.
44.Jump up ^ Dave Gibbons (December 2008). "Watchmen's artist tells us how the famed graphic novel changed his life and gives some thoughts on the upcoming movie and game". Electronic Gaming Monthly. p. 53.
45.Jump up ^ "Legends of the Dark Mite!". Ben Jones (director), Paul Dini (writer). Batman: The Brave and the Bold. May 29, 2009. No. 19, season 1.
46.^ Jump up to: a b "Stomp Tokyo Video Reviews - Batman & Mr. Freeze: Subzero". Stomptokyo.com. March 25, 1998. Retrieved May 21, 2013.
External links[edit]
 Wikimedia Commons has media related to Batman & Robin (film).
 Wikiquote has a collection of quotations related to: Batman & Robin (1997 film)
Batman & Robin (Archive)
Batman & Robin at the Internet Movie Database
Batman & Robin at allmovie
Batman & Robin at Box Office Mojo
Batman & Robin at Rotten Tomatoes
Batman & Robin at RiffTrax


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Batman Begins
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This article is about the film. For the video game, see Batman Begins (video game).

Batman Begins
A man in a batsuit spreads his wings while looking down. Tall skyscrapers extend above and bats fly around him.
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Charles Roven
Emma Thomas
Larry J. Franco

Screenplay by
Christopher Nolan
David S. Goyer

Story by
David S. Goyer

Based on
Batman
 by Bob Kane
Starring
Christian Bale
Michael Caine
Liam Neeson
Katie Holmes
Gary Oldman
Cillian Murphy
Tom Wilkinson
Rutger Hauer
Ken Watanabe
Morgan Freeman

Music by
Hans Zimmer
James Newton Howard

Cinematography
Wally Pfister
Editing by
Lee Smith
Studio
DC Comics
Legendary Pictures
Syncopy Films
Patalex Productions III

Distributed by
Warner Bros. Pictures
Release dates
June 10, 2005 (Russia)
June 15, 2005 (United Kingdom)
June 17, 2005 (United States)

Running time
141 minutes
Country
United States
 United Kingdom[1]
Language
English
Budget
$150 million
Box office
$374,218,673[2]
Batman Begins is a 2005 British-American superhero film based on the fictional DC Comics character Batman, co-written and directed by Christopher Nolan. It stars Christian Bale as Batman along with Michael Caine, Liam Neeson, Katie Holmes, Gary Oldman, and Morgan Freeman. The film reboots the Batman film series, telling the origin story of the character from Bruce Wayne's initial fear of bats, the death of his parents, his journey to become Batman, and his fight against Ra's al Ghul's plot to destroy Gotham City. It draws inspiration from classic comic book storylines such as The Man Who Falls, Batman: Year One, and Batman: The Long Halloween.
After a series of unsuccessful projects to resurrect Batman on screen following the 1997 critical failure of Batman & Robin, Nolan and David S. Goyer began to work on the film in early 2003 and aimed for a darker and more realistic tone, with humanity and realism being the basis of the film. The goal was to get the audience to care for both Batman and Bruce Wayne. The film, which was primarily shot in Iceland and Chicago, relied on traditional stunts and miniatures – computer-generated imagery was used minimally.
Batman Begins was both critically and commercially successful. The film opened on June 17, 2005, in the United States and Canada in 3,858 theaters. It grossed $48 million in its opening weekend in North America, eventually grossing over $372 million worldwide. The film received critical acclaim and has been considered by many as one of the best superhero films ever made. Critics noted that fear was a common motif throughout the film, and remarked that it had a darker tone compared with previous Batman films. The film was nominated for an Academy Award for Best Cinematography and three BAFTA awards.
The film is followed by The Dark Knight (2008) and The Dark Knight Rises (2012) in a continual story-arc, which has later been referred to as The Dark Knight trilogy.


Contents  [hide]
1 Plot
2 Cast and characters
3 Production 3.1 Development
3.2 Filming
3.3 Design 3.3.1 Tumbler
3.3.2 Batsuit
3.3.3 Fight choreography
3.3.4 Special effects
3.4 Music
3.5 Themes
4 Reception 4.1 Box office
4.2 Home media
4.3 Accolades
4.4 Impact
5 See also
6 References
7 External links

Plot[edit]
As a child, Bruce Wayne falls into a well, where he is attacked by a swarm of bats; he develops a fear of bats as a result. Soon afterward, he witnesses his parents' murder by mugger Joe Chill, leaving Bruce to be raised by the family's butler, Alfred Pennyworth.
Fourteen years later, Chill is granted parole in exchange for testifying against Gotham City crime boss Carmine Falcone. Bruce goes to the trial, intending to kill Chill, but one of Falcone's assassins does so first. Bruce's childhood friend, assistant district attorney Rachel Dawes, chides him for attempting to take the law into his own hands. Bruce later confronts Falcone, who tells him that real power comes from being feared. Bruce decides to travel and learn about the criminal underworld, before becoming a criminal himself. In a Bhutanese prison, Henri Ducard offers to train him in the arts of stealth and fear as a member of the League of Shadows, led by Ra's al Ghul. After completing his training, Bruce learns the League's true intention is to destroy Gotham City, which it views as corrupt beyond saving (the League of Shadows has done this for centuries only to cities that have been polluted with crime). Bruce refuses to join them and burns down the League's temple. Ra's is killed by falling debris, while Bruce saves an unconscious Ducard, leaving him with the local villagers.
Soon afterward, Bruce returns to Gotham. Publicly posing as a playboy, he takes an interest in his family's company, Wayne Enterprises, which is now run by the unscrupulous William Earle. Bruce meets Wayne Enterprises's top scientist Lucius Fox, who shows him various prototype technologies, including the Tumbler and a protective bodysuit. Taking these, Bruce finds an entrance to the cave under his well, confronts his fear of bats and creates a workshop, taking up the identity of "Batman". As Batman, he intercepts a drug shipment and provides Rachel with evidence to indict Falcone, empowering the honest Sgt. James Gordon and the Gotham police to arrest the previously untouchable criminal.
Falcone and his henchmen are declared mentally unfit for trial and transferred to Arkham Asylum by the corrupt Dr. Jonathan Crane, who had been using Falcone to import a drug that causes terrifying hallucinations. Crane exposes Falcone to the toxin while wearing a burlap mask, driving Falcone insane with fear of the "Scarecrow" in order to keep Falcone in Arkham. While investigating Crane, Batman is also exposed to the drug, set on fire, and thrown out an open window into an alleyway, but is rescued in time by Alfred and given an antidote by Fox. Rachel goes to Arkham, where Crane reveals that he has been dumping the toxin into Gotham's water supply before dosing her with it. She is rescued by Batman and they escape in the Tumbler, inoculating her and giving her two vials of the antidote, one for Gordon and one for mass production. Meanwhile, Gordon finds out that the compound has been laced into the entire city's water supply, but can only cause harm if inhaled.
At his birthday celebration at Wayne Manor, Bruce is confronted by Ducard, who reveals himself to be the real Ra's al Ghul. Feigning drunkenness, Bruce kicks his guests out so they will be safe, leaving him alone with Ra's and his men. Ra's reveals the League's plan to destroy Gotham; the group has conspired with Crane and stolen a powerful microwave emitter from Wayne Enterprises, intending to vaporize the city's water supply so that the toxin will trigger mass hysteria and violence. The League sets fire to the mansion and Bruce is saved by Alfred. As the League begins unleashing the toxin, Batman rescues Rachel from a drug-maddened mob and indirectly reveals his true identity to her before pursuing Ra's onto the monorail train that is carrying the emitter toward the city's main water distribution center. Gordon uses the Tumbler's missiles to destroy a section of the tracks, and Batman escapes from the train, leaving Ra's to die when it falls and crashes.
Batman becomes a public hero, but loses Rachel, who cannot bring herself to love both Bruce and Batman. Bruce buys a controlling stake in the now publicly traded Wayne Enterprises, fires Earle, and replaces him with Fox. Gordon is promoted to Lieutenant of the Gotham Police Force, showing Batman the Bat-Signal, and mentions a criminal who leaves Joker playing cards at crime scenes. Batman promises to investigate, and disappears into the night.
Cast and characters[edit]
Christian Bale as Bruce Wayne / Batman:
Wayne is a billionaire industrialist whose parents were killed by a mugger when he was eight years old. Traveling the world for several years to seek the means to fight injustice, he returns to Gotham. At night, Bruce becomes Batman, Gotham City's vigilante protector. Bale was cast on September 11, 2003,[3] having expressed interest in playing Batman since Darren Aronofsky was planning his own film adaptation.[4] Some of the early candidates for the Batman/Bruce Wayne role were Billy Crudup, Jake Gyllenhaal, Hugh Dancy, Joshua Jackson, Eion Bailey, Cillian Murphy, and Heath Ledger.[3][5] Amy Adams served as the casting reader for the casting of Bruce Wayne/Batman in a favor to the casting director.[6] Bale felt the previous films underused Batman's character, overplaying the villains instead.[7] To best pose as Batman, Bale studied graphic novels and illustrations of the superhero.[8] Director Nolan said of Bale, "He has exactly the balance of darkness and light that we were looking for."[9] Goyer stated that while some actors could play a great Bruce Wayne or a great Batman, Bale could portray both radically different personalities.[10] Bale described the part as playing four characters: the raging Batman persona; the shallow playboy façade Bruce uses to ward off suspicion; the vengeful young man; and the older, angrier Bruce who is discovering his purpose in life.[11] Bale's dislike of his costume, which heated up regularly, helped him get into a necessarily foul mood. He said, "Batman's meant to be fierce, and you become a beast in that suit, as Batman should be – not a man in a suit, but a different creature."[8] Since he had lost a great deal of weight in preparation for his role in The Machinist, Bale hired a personal trainer to help him gain 100 pounds (45 kg) in the span of only a couple of months to help him physically prepare for the role. He first went well over the weight required and created concern over whether he would look right for the part. Bale recognized that his large physique was not appropriate for Batman, who relies on speed and strategy. He lost the excess weight by the time filming began.[10] The role of Bruce Wayne at age eight was portrayed by Gus Lewis.[12]Michael Caine as Alfred Pennyworth:
The trusted butler to Bruce Wayne's parents, who continues his loyal service to their son after their deaths. He is Bruce Wayne's closest confidant. Nolan felt Caine would effectively portray the foster father element of the character.[10] Although Alfred's family is depicted in the film as having served the Wayne family for generations, Caine created his own backstory, in that before becoming Wayne's butler, Alfred served in the Special Air Service. After being wounded, he was invited to the position of the Wayne family butler by Thomas Wayne because, "He wanted a butler, but someone a bit tougher than that, you know?"[13]Liam Neeson as Henri Ducard:
A mysterious man who trains Bruce in the martial arts. Initially posing as a subservient member of the League of Shadows, an organization led by Ra's al Ghul, it is later revealed that he is Ra's al Ghul himself who used the name "Ducard" as a pseudonym to hide his true identity. Writer David Goyer said he felt he was the most complex of all the Batman villains, comparing him to Osama bin Laden; "He's not crazy in the way that all the other Batman villains are. He's not bent on revenge; he's actually trying to heal the world. He's just doing it by very draconian means."[14] Christopher Nolan had discussions with his Memento collaborator Guy Pearce about playing the role, but both of them decided that the actor was too young for the part.[15] Neeson is commonly cast as a mentor, so the revelation that his character was the main villain was intended to shock viewers.[10]Katie Holmes as Rachel Dawes:
Bruce's childhood friend and love interest who serves as Gotham City's assistant district attorney, fighting against the corruption in the city. Nolan found a "tremendous warmth and great emotional appeal" in Holmes, and also felt "she has a maturity beyond her years that comes across in the film and is essential to the idea that Rachel is something of a moral conscience for Bruce".[16] Emma Lockhart portrays the young Rachel Dawes.Gary Oldman as James Gordon:
One of the few uncorrupted Gotham City police officers. He was the officer on duty the night of the murder of Bruce Wayne's parents. In this way, he shares a special bond with the adult Bruce and thus with Batman. Nolan had originally approached Oldman about playing a villain,[17] but when Chris Cooper turned down the role of Gordon to spend time with his family[18] he decided that it would be refreshing for Oldman, who is renowned for his portrayals of villains,[19] to play the role instead.[17] "I embody the themes of the movie which are the values of family, courage and compassion and a sense of right and wrong, good and bad and justice," Oldman said of his character. Oldman filmed most of his scenes in Britain.[20] Goyer said Oldman heavily resembled Gordon as drawn by David Mazzucchelli in Batman: Year One.[10]Cillian Murphy as Dr. Jonathan Crane / Scarecrow:
A corrupt psychopharmacologist who works as Chief Administrator of Arkham Asylum and has developed fear-inducing toxins from a flower that grows in Ra's al Ghul's sanctuary. He takes on the persona of the Scarecrow to use during his experiments, in which he uses his patients as human guinea pigs for his toxins. Using Carmine Falcone, Crane works with Ra's al Ghul to smuggle the drugs into Gotham. Nolan decided against Irish actor Murphy for Batman, before casting him as Scarecrow.[21] Murphy read numerous comics featuring the Scarecrow, and discussed making the character look less theatrical with Nolan. Murphy explained, "I wanted to avoid the Worzel Gummidge look, because he's not a very physically imposing man – he's more interested in the manipulation of the mind and what that can do."[22]Tom Wilkinson as Carmine Falcone:
The most powerful Mafia boss in Gotham. He had shared a prison cell with Joe Chill after Chill murdered Wayne's parents. He had Chill murdered when he decided to testify against Falcone. He goes into business with Dr. Jonathan Crane and Ra's al Ghul by smuggling in Crane's fear toxins through his drug shipments over the course of several months so that they can be mixed in with the city's water supply.Morgan Freeman as Lucius Fox:
A high-ranking Wayne Enterprises employee who was demoted to working in the company's Applied Science Division, where he conducts advanced studies in biochemistry and mechanical engineering. Fox supplies Bruce with much of the gear necessary to carry out Batman's mission and is promoted to CEO when Bruce takes control of the company by the end of the film. Freeman was Goyer's first and only choice for the role.[10]
Other cast members include Rutger Hauer as William Earle, the CEO of Wayne Enterprises who takes the company public in the long-term absence of Bruce Wayne; Mark Boone Junior as Gordon's corrupt partner Detective Arnold Flass; Ken Watanabe as Ra's al Ghul's decoy; Larry Holden as district attorney Carl Finch; Colin McFarlane as Police commissioner Gillian B. Loeb; Linus Roache and Sara Stewart as Thomas and Martha Wayne, Bruce's parents; Richard Brake as Joe Chill, the Waynes' killer; Gerard Murphy as the corrupt High Court Judge Faden; Charles Edwards as a Wayne Enterprises executive; Tim Booth as Victor Zsasz; Rade Šerbedžija as a homeless man, who is the last person to meet Bruce when he leaves Gotham, and the first civilian to see Batman, and both Risteárd Cooper and Andrew Pleavin as uniformed policemen. Actors John Foo, Joey Ansah, Spencer Wilding, Dave Legeno, Khan Bonfils, Rodney Ryan, Dean Alexandrou, James Embree, David Bedella, Emil Martirossian, Mark Strange, Justin Miu and Chuen Tsou appear as members of the League of Shadows. Jack Gleeson, who later found fame for his role as Joffrey Baratheon in the HBO series Game of Thrones, has a small role as a young boy who is protected by Rachel in the Narrows before Batman arrives to try and stop tRa's al Ghul.
Production[edit]
Development[edit]
Further information: Proposals for a fifth Batman film
In January 2003, Warner Bros. hired Memento director Christopher Nolan to direct an untitled Batman film,[23] and David S. Goyer signed on to write the script two months later.[24] Nolan stated his intention to reinvent the film franchise of Batman by "doing the origins story of the character, which is a story that's never been told before". Nolan said that humanity and realism would be the basis of the origin film, and that "the world of Batman is that of grounded reality. [It] will be a recognizable, contemporary reality against which an extraordinary heroic figure arises." Goyer said that the goal of the film was to get the audience to care for both Batman and Bruce Wayne.[25] Nolan felt the previous films were exercises in style rather than drama, and described his inspiration as being Richard Donner's 1978 film Superman, in its focus on depicting the character's growth.[4] Also similar to Superman, Nolan wanted an all-star supporting cast for Batman Begins to lend a more epic feel and credibility to the story.[10]
Nolan's personal "jumping off point" of inspiration was The Man Who Falls, a short story by Denny O'Neil and Dick Giordano about Bruce's travels throughout the world. The early scene in Batman Begins of young Bruce Wayne falling into a well was adapted from "The Man Who Falls".[26] Batman: The Long Halloween, written by Jeph Loeb and drawn by Tim Sale, influenced Goyer in writing the screenplay, with the villain Carmine Falcone as one of many elements which were drawn from Halloween's "sober, serious approach".[26] The writers considered having Harvey Dent in the film, but replaced him with the new character Rachel Dawes when they realized they "couldn't do him justice".[27] The character was later portrayed by Aaron Eckhart in the 2008 sequel The Dark Knight. The sequel to Halloween, Batman: Dark Victory, also served as an influence.[28] Goyer used the vacancy of Bruce Wayne's multi-year absence presented in Batman: Year One to help set up some of the film's events in the transpiring years.[29] In addition, the film's Sergeant James Gordon was based on his comic book incarnation as seen in Year One. The writers of Batman Begins also used Frank Miller's Year One plot device, which was about a corrupt police force that led to Gordon and Gotham City's need for Batman.[26]
A common idea in the comics is that Bruce saw a Zorro film with his parents before they were murdered. Nolan explained that by ignoring that idea – which he stated is not found in Batman's first appearances – it emphasized the importance of bats to Bruce and that becoming a superhero is a wholly original idea on his part. It is for this reason Nolan believes other DC characters do not exist in the universe of his film; otherwise, Wayne's reasons for taking up costumed vigilantism would have been very different.[30]
At his audition, Bale wore the batsuit Val Kilmer donned for 1995's Batman Forever.[31]
Filming[edit]
As with all his films, Nolan refused a second unit; he did this in order to keep his vision consistent.[8] Filming began in March 2004 in the Vatnajökull glacier in Iceland (standing in for Bhutan).[8] The crew built a village and the front doors to Ra's' temple,[32] as well as a road to access the remote area.[8] The weather was problematic, with 75 miles per hour (121 km/h) winds,[8] rain, and a lack of snow. A shot Wally Pfister had planned to take using a crane had to be done with a handheld camera.[32]
In seeking inspiration from Superman and other blockbuster films of the late 1970s and early 1980s, Nolan based most of the production in England, specifically Shepperton Studios.[33] A Batcave set was built there and measured 250 feet (76 m) long, 120 feet (37 m) wide, and 40 feet (12 m) high. Production designer Nathan Crowley installed twelve pumps to create a waterfall with 12,000 imperial gallons (55,000 l; 14,000 US gal), and built rocks using molds of real caves.[34] In January 2004, an airship hangar at Cardington, Bedfordshire was rented by Warner Bros. for filming in April 2004.[35] There, the Narrows and the feet of the monorails filled the 900 feet (270 m) long stage.[34]
Mentmore Towers was chosen from twenty different locations for Wayne Manor, as Nolan and Crowley liked its white floors, which gave the impression of the manor as a memorial to Wayne's parents.[36] The building chosen to represent Arkham Asylum was the National Institute for Medical Research building in Mill Hill, northwest London, England.[37] The St Pancras railway station and the Abbey Mills Pumping Stations were used for Arkham's interiors.[34] University College London was used for courtrooms.[34] Some scenes, including the Tumbler pursuit,[8] were filmed in Chicago at locations such as Lower Wacker Drive and 35 East Wacker.[38] Authorities agreed to raise Franklin Street Bridge for a scene where access to the Narrows is closed.[8]
Despite the film's darkness, Nolan wanted to make the film appeal to a wide age range. "Not the youngest kids obviously, I think what we've done is probably a bit intense for them but I certainly didn't want to exclude the sort of ten to 12-year olds, because as a kid I would have loved to have seen a movie like this." Because of this, nothing gory or bloody was filmed.[16]
Design[edit]
Nolan used the 1982 cult science fiction film Blade Runner as a source of inspiration for Batman Begins. He screened Blade Runner to cinematographer Wally Pfister and two others to show the attitude and style that he wanted to draw from the film. Nolan described the film's world as "an interesting lesson on the technique of exploring and describing a credible universe that doesn't appear to have any boundaries", a lesson that he applied to the production of Batman Begins.[39]
Nolan worked with production designer Nathan Crowley to create the look of Gotham City. Crowley built a model of the city that filled Nolan's garage.[36] Crowley and Nolan designed it as a large, modern metropolitan area that would reflect the various periods of architecture that the city had gone through. Elements were drawn from New York City, Chicago, and Tokyo; the latter for its elevated freeways and monorails. The Narrows was based on the slummish nature of the (now demolished) walled city of Kowloon in Hong Kong.[40]
Tumbler[edit]
See also: Batmobile
Crowley started the process of designing the Tumbler for the film by model bashing. Crowley used the nose cone of a P-38 Lightning model to serve as the chassis for the Tumbler's turbine engine. Six models of the Tumbler were built to 1:12 scale in the course of four months. Following the scale model creation, a crew of over 30 people, including Crowley and engineers Chris Culvert and Annie Smith, carved a full-size replica of the Tumbler out of a large block of Styrofoam in two months.[41]
The Styrofoam model was used to create a steel "test frame", which had to stand up to several standards: have a speed of over 100 miles per hour (160 km/h), go from 0 to 60 miles per hour (97 km/h) in 5 seconds, possess a steering system to make sharp turns at city corners, and withstand a self-propelled launch of up to 30 feet (9.1 m). On the first jump test, the Tumbler's front end collapsed and had to be completely rebuilt. The basic configuration of the newly designed Tumbler included a 5.7-liter Chevy V8 engine, a truck axle for the rear axle, front tires by Hoosier (which are actually dirt racing tires used on the right rear of open wheel sprint cars), 4 rear 44/18.5-16.5 Interco Super Swamper TSL tires (44" tall, 18.5" wide, mounted on a 16.5" wheel) and the suspension system of Baja racing trucks. The design and development process took nine months and cost several million dollars.[41]
With the design process complete, four street-ready race cars were constructed, with each vehicle possessing 65 panels and costing $250,000 to build. Two of the four cars were specialized versions. One version was the flap version, which had hydraulics and flaps to detail the close-up shots where the vehicle propelled itself through the air. The other version was the jet version, in which an actual jet engine was mounted onto the vehicle, fueled by six propane tanks. The visibility inside the vehicle was poor, so monitors were connected to cameras on the vehicle body. The professional drivers for the Tumblers practiced driving the vehicles for six months before they drove on the streets of Chicago for the film's scenes.[41]
The interior of the Tumbler was an immobile studio set and not actually the interior of a street-capable Tumbler. The cockpit was over-sized to fit cameras for scenes filmed in the Tumbler interior. In addition, another version of the Tumbler was a miniature model that was 1:6 scale of the actual Tumbler. This miniature model had an electric motor and was used to show the Tumbler flying across ravines and between buildings. However, the actual Tumbler was used for the waterfall sequence.[41]
Batsuit[edit]

A man in a batsuit, with a cowl on his head, a utility belt, and a cape flowing behind him.

 The Batsuit, worn by Christian Bale.
The filmmakers intended to create a very mobile Batsuit that would allow the wearer to move easily to fight and crouch. Previous film incarnations of the Batsuit had been stiff and especially restricted full head movement. Costume designer Lindy Hemming and her crew worked on the Batsuit at an FX workshop codenamed "Cape Town", a secured compound located at Shepperton Studios in London. The Batsuit's basic design was a neoprene undersuit, which was shaped by attaching molded cream latex sections. Christian Bale was molded and sculpted prior to his physical training so the team could work on a full body cast. To avoid imperfections picked up by sculpting with clay, plastiline was used to smooth the surface. In addition, the team brewed different mixtures of foam to find the mixture that would be the most flexible, light, durable, and black. The latter presented a problem, since the process to make the foam black reduced the foam's durability.[8]
For the cape, director Christopher Nolan wanted to have a "flowing cloak... that blows and flows as in so many great graphic novels". Hemming's team created the cape out of their own version of parachute nylon that had electrostatic flocking, a process shared with the team by the British Ministry of Defence. The process was used by the London police force to minimize night vision detection. The cape was topped by a cowl, which was designed by Nolan, Hemming, and costume effects supervisor Graham Churchyard. The cowl was created to be thin enough to allow motion but thick enough to avoid wrinkling when Bale turned his head in the Batsuit. Churchyard explained the cowl had been designed to show "a man who has angst", so his character would be revealed through the mask.[8]
Fight choreography[edit]
Fight choreography utilized the Keysi Fighting Method which itself gained fame after it was used in the movie Batman Begins and its sequel, The Dark Knight; however, it was not used in The Dark Knight Rises due to a change in fight team. The method is a self-defense system whose training is based on the study and cultivation of natural instincts.[42]
Special effects[edit]
For Batman Begins, Nolan preferred traditional stuntwork over computer-generated imagery.[4] Scale models were used to represent the Narrows and Ra's al Ghul's temple.[32][36] There were, however, several establishing shots that were CG composite images; that is, an image composed of multiple images. Examples include Gotham's skyline, exterior shots of Wayne Tower, and some of the exterior monorail shots.[36] The climactic monorail sequence mixed live action footage, model work, and CGI.[43]
The bats were entirely digital (except in shots containing only one or two bats), as it was decided directing larger numbers of real bats on set would be problematic. Dead bats were scanned to create digital models. Locations and sets were recreated on the computer so the flying bats would not be superfluous once incorporated into the finished film.
Music[edit]
Main article: Batman Begins (soundtrack)
The score for Batman Begins was composed by Hans Zimmer and James Newton Howard. Nolan originally invited Zimmer to compose the music, and Zimmer asked Nolan if he could invite Howard to compose as well, as they had always planned a collaboration.[44] The two composers collaborated on separate themes for the "split personality" of Bruce Wayne and his alter ego, Batman. Zimmer and Howard began composing in Los Angeles and moved to London where they stayed for twelve weeks to complete most of their writing.[45] Zimmer and Howard sought inspiration for shaping the score by visiting the Batman Begins sets.[46]
Zimmer wanted to avoid writing music that had been done in earlier Batman films, so the score became an amalgamation of orchestra and electronic music. The film's ninety-piece orchestra[44] was developed from members of various London orchestras, and Zimmer chose to use more than the normal number of cellos. Zimmer enlisted a boy soprano to help reflect the music in some of the film's scenes where tragic memories of Bruce Wayne's parents are involved. "He's singing a fairly pretty tune and then he gets stuck, it's like froze, arrested development," said Zimmer. He also attempted to add a human dimension to Batman, whose behavior would typically be seen as "psychotic", through the music. Both composers collaborated to create 2 hours and 20 minutes worth of music for the film.[46] Zimmer composed the action sequences, while Howard focused on the film's drama.[44]
Themes[edit]
Comic book writer and author Danny Fingeroth argues that a strong theme in the film is Bruce's search for a father figure, saying "[Alfred] is the good father that Bruce comes to depend on. Bruce's real father died before they could establish an adult relationship, and Liam Neeson's Ducard is stern and demanding, didactic and challenging, but not a father figure with any sympathy. If Bruce is anyone's son, he is Alfred's. [Morgan] Freeman's Lucius is cool and imperturbable, another steady anchor in Bruce's life."[47] Blogger Mark Fisher states that Bruce's search for justice requires him to learn from a proper father figure, with Thomas Wayne and Ra's al Ghul being the two counterpoints. Alfred provides a maternal figure of unconditional love, despite the overall lack of focus on a mother figure in Bruce's life.[48]
Fingeroth also argues that a major theme in the film is fear, which supports the story of Bruce Wayne becoming a hero. Director Christopher Nolan stated that the idea behind the film was "a person who would confront his innermost fear and then attempt to become it". Fingeroth referred to this film's depiction as "the man with fear—but who rises above it". The theme of fear is further personified by the choice of antagonist, the Scarecrow.[47] The film depicts how fear can affect all creatures regardless of might. Allusions to fear are seen throughout, from Bruce's conquering of his demons, to becoming Batman, to the Scarecrow and his deadly fear toxin. The macabre, distorted images presented in the Scarecrow's toxin-induced hallucinations also express the idea of terror to an extreme.[49]
Critic Brian Orndorf considered Batman Begins "fierce" and "demonstrative in brood", giving the film an abundance of gravitas and energy. It strays away from the lighter fare of Joel Schumacher's 1997 Batman film, Batman & Robin, which contained camp one-liners throughout. The theme of fear is intensified with the help of the musical score by Zimmer and Howard, which also "eschews traditional heroic themes".[49] Also contrary to previous Batman films, a psychological investigation of Bruce Wayne's split personality in the bat suit is only lightly touched upon. Orndorf noted that Bruce is a "character constantly striving to do the right thing, not worn down by incessant reexamination".[49]
Reception[edit]
Batman Begins has received positive reviews from critics. Review aggregator Rotten Tomatoes reports that 85% of critics have given the film a positive review based on 263 reviews, with an average score of 7.7/10, making the film a "Certified Fresh" on the website's rating system.[50] At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the film received an average score of 70, based on 41 reviews, which indicates "generally favorable reviews".[51] Additionally, the film was a success with audiences who, when polled by CinemaScore, awarded the film an A grade.[52]
James Berardinelli applauded Nolan and Goyer's work creating more understanding into "who [Batman] is and what motivates him", something Berardinelli felt Tim Burton's film lacked; at the same time, Berardinelli felt the romantic aspect between Bale and Holmes did not work because the actors lacked the chemistry Christopher Reeve and Margot Kidder (Superman), or Tobey Maguire and Kirsten Dunst (Spider-Man) shared in their respective roles.[53] According to Total Film, Nolan manages to create such strong characters and story that the third-act action sequences cannot compare to "the frisson of two people talking", and Katie Holmes and Christian Bale's romantic subplot has a spark "refreshingly free of Peter Parker/Mary Jane-style whining".[54]
Los Angeles Times' Kenneth Turan, who felt the film began slowly, stated that the "story, psychology and reality, not special effects", assisted the darkness behind Batman's arsenal; he noted that Neeson and Holmes, unlike Bale's ability to "feel his role in his bones", do not appear to fit their respective characters in "being both comic-book archetypes and real people".[55] The New Yorker's David Denby did not share Berardinelli and Turan's opinion. He was unimpressed with the film, when comparing it to the two Tim Burton films, and that Christian Bale's presence was hindered by the "dull earnestness of the screenplay", the final climax was "cheesy and unexciting", and that Nolan had resorted to imitating the "fakery" used by other filmmakers when filming action sequences.[56]
Michael Wilmington of the Chicago Tribune believed Nolan and Goyer managed to "comfortably mix the tormented drama and revenge motifs with light hearted gags and comic book allusions," and that Nolan takes the series out of the "slam-bang Hollywood jokefests" the franchise had drifted into.[57] Comic book scribe and editor Dennis O'Neil stated that he "felt the filmmakers really understood the character they were translating", citing this film as the best of the live-action Batman films.[58] In contrast, J.R. Jones, from the Chicago Reader, criticized the script, and Nolan and David Goyer for not living up to the "hype about exploring Batman's damaged psyche".[59] Roger Ebert, who gave mixed reviews to the previous films, wrote this was "the Batman movie I've been waiting for; more correctly, this is the movie I did not realize I was waiting for". Giving it four out of four stars, he commended the realistic portrayals of the Batman arsenal – the Batsuit, Batcave, Tumbler, and the Batsignal – as well as the focus on "the story and character" with less stress on "high-tech action".[60]
Like Berardinelli, USA Today's Mike Clark thought Bale performed the role of Batman as well as he did Patrick Bateman in American Psycho, but that the relationship between Bruce Wayne and Rachel Dawes was "frustratingly underdeveloped".[61] Kyle Smith thought Bale exhibited "both the menace and the wit he showed in his brilliant turn in American Psycho", and that the film works so well because of the realism, stating, "Batman starts stripping away each layer of Gotham crime only to discover a sicker and more monstrous evil beneath, his rancid city simultaneously invokes early '90s New York, when criminals frolicked to the tune of five murders a day; Serpico New York, when cops were for sale; and today, when psychos seek to kill us all at once rather than one by one."[62] In contrast, Salon.com's Stephanie Zacharek felt Nolan did not deliver the emotional depth expected of "one of the most soulful and tortured superheroes of all"; she thought Bale, unlike Michael Keaton whom she compared him to, failed to connect with the audience underneath the mask, but that Gary Oldman succeeded in "emotional complexity" where the rest of the movie failed.[63]
Film director Tim Burton felt Nolan "captured the real spirit that these kind of movies are supposed to have nowadays. When I did Batman twenty years ago, in 1988 or something, it was a different time in comic book movies. You couldn't go into that dark side of comics yet. The last couple of years that has become acceptable and Nolan certainly got more to the root of what the Batman comics are about."[64]
Box office[edit]
Batman Begins opened on June 17, 2005 in the United States and Canada in 3,858 theaters,[2] including 55 IMAX theaters. The film ranked at the top in its opening weekend, accumulating $48,745,440, which was seen as "strong but unimpressive by today's instantaneous blockbuster standards".[52] The film's five-day gross was $72.9 million, beating Batman Forever (1995) as the franchise high. Batman Begins also broke the five-day opening record in the 55 IMAX theaters, grossing $3.16 million. Polled moviegoers rated the film with an A, and according to the studio's surveys, Batman Begins was considered the best of all the Batman films. The audience's demographic was 57 percent male and 54 percent people over the age of 25.[52]
The film held its top spot for another weekend, accumulating $27,589,389 in a 43 percent drop from its first weekend.[65] Batman Begins went on to gross $205,343,774 in North America and had a worldwide total of $372,710,015.[2] It is the fourth-highest grossing Batman film, as of August 2012, behind Tim Burton's Batman, which grossed $411,348,924 worldwide and also being surpassed by its sequels The Dark Knight and The Dark Knight Rises, both of which have grossed over $1 billion.[66] Batman Begins averaged $12,634 per theater in its opening weekend.[2] It was released in more theaters, but sold fewer tickets than the other previous Batman movies, with the exception of Batman & Robin.[67] Batman Begins was the eighth-highest grossing film of 2005 in the US.[68]
Home media[edit]
The DVD of Batman Begins was released on October 18, 2005, in both single-disc and two-disc deluxe editions and also released on VHS and UMD Video formats.[69] In addition to the film, the deluxe edition contained featurettes and other bonus materials. The edition contained a small paperback booklet, the first Batman story, featured in Detective Comics No. 27, as well as Batman: The Man Who Falls and an excerpt from Batman: The Long Halloween.[70] Batman Begins achieved first place in national sales and rental charts in October 2005, becoming the top-selling DVD of the fourth quarter of 2005. The DVD grossed $11.36 million in rental revenue.[71] The DVD held its position at the top of the sales chart for a second week, but fell to second place behind Bewitched on video rental charts.[72]
Batman Begins was released on HD DVD on October 10, 2006.[73] A Limited Edition Giftset of the film was released on DVD and Blu-ray on July 8, 2008, to coincide with The Dark Knight which hit theaters July 18, 2008.[74] The film grossed $167,000,000 in DVD sales, bringing its total film gross to $539,853,783 as of August 2006.[75] Due to the successful box office performance of The Dark Knight, the Batman Begins DVD has since seen an increase in both sales and rentals.[76]
Accolades[edit]
Wally Pfister was nominated for Best Cinematography at the 78th Academy Awards, receiving the film's only Academy Award nomination. The film received three nominations at the 59th British Academy Film Awards. Just months after its release, Batman Begins was voted by Empire readers as the 36th greatest film of all time.[77] In 2006, the American Society of Composers, Authors and Publishers honored James Newton Howard, Hans Zimmer, and Ramin Djawadi with an ASCAP award for composing a film that became one of the top grossing films of 2005.[78] The film was awarded three Saturn Awards in 2006 as well: Best Fantasy Film, Best Actor for Christian Bale, and Best Writing for Nolan and Goyer.[79] Christian Bale would go on to win an MTV Movie Award for Best Hero.[80] However, Katie Holmes's performance was not well received, and she was nominated for a Razzie Award for Worst Supporting Actress.[81] Batman Begins won the fan-based Total Film award for Best Film.[82]
In November 2008, Empire ranked Batman Begins 81 in its 500 Greatest Movies of All Time list.[83]
Impact[edit]
Shawn Adler of MTV stated Batman Begins heralded a trend of darker genre films, that either retold back-stories or rebooted them altogether. Examples he cited were Casino Royale, as well as the in-development RoboCop, Red Sonja, and Grayskull.[84] Filmmakers, screenwriters and producers who have mentioned Batman Begins or The Dark Knight to describe their projects include: Jon Favreau and Iron Man,[85] Edward Norton and The Incredible Hulk,[86] McG and Terminator Salvation,[87] (Alan Taylor also cited Batman Begins as inspiration for his Terminator reboot)[88] Damon Lindelof and Star Trek,[89] Star Trek Into Darkness,[90] Robert Downey, Jr. and Sherlock Holmes,[91] Lorenzo di Bonaventura and G.I. Joe: The Rise of Cobra,[92] Hugh Jackman and X-Men Origins: Wolverine,[93] Matthew Vaughn and X-Men: First Class,[94] Rupert Wyatt and Rise of the Planet of the Apes,[95] Kevin Tancharoen and Mortal Kombat,[96] Sam Mendes and Skyfall,[97] Alex Kurtzman and Van Helsing,[98] Andrew Kreisberg and Arrow,[99] Gareth Edwards and Godzilla,[100] Mark Wahlberg and The Roman,[101] and Marcus Dunstan and Patrick Melton with a potential adaptation of God of War.[102] Entertainment Weekly has cited Batman Begins as an inspiration for both the reinventing, as well as the tone for The Amazing Spider-Man.[103]
See also[edit]

Portal icon Film in the United States portal
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Vigilante film
Neo-noir
The Shadow - A 1994 superhero film, based on the character that partially inspired Batman,[104] that uses a similar storyline of an American millionaire being trained in the East to fight crime.
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External links[edit]
 Wikiquote has a collection of quotations related to: Batman Begins
Official website
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The Dark Knight (film)
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This article is about the film. For other uses, see Dark Knight (disambiguation).

The Dark Knight
Dark Knight.jpg
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Christopher Nolan
Emma Thomas
Charles Roven

Screenplay by
Jonathan Nolan
Christopher Nolan

Story by
Christopher Nolan
David S. Goyer

Based on
Batman
 by Bob Kane
Starring
Christian Bale
Michael Caine
Heath Ledger
Gary Oldman
Aaron Eckhart
Maggie Gyllenhaal
Morgan Freeman

Music by
Hans Zimmer
James Newton Howard

Cinematography
Wally Pfister
Editing by
Lee Smith
Studio
Legendary Pictures
Syncopy Films
DC Comics

Distributed by
Warner Bros. Pictures
Release dates
July 14, 2008 (New York City)
July 18, 2008 (United States)

Running time
152 minutes[1]
Country
United States
United Kingdom[2]

Language
English
Budget
$185 million[3]
Box office
$1,004,558,444[3]
The Dark Knight is a 2008 British-American superhero film directed, produced, and cowritten by Christopher Nolan. Based on the DC Comics character Batman, the film is the second part of Nolan's Batman film series and a sequel to 2005's Batman Begins. Christian Bale reprises the lead role of Bruce Wayne/Batman, with a returning cast of Michael Caine as Alfred Pennyworth, Gary Oldman as James Gordon and Morgan Freeman as Lucius Fox. The film introduces the character of Harvey Dent (Aaron Eckhart), Gotham's newly elected District Attorney and the consort of Bruce Wayne's childhood friend Rachel Dawes (Maggie Gyllenhaal replacing Katie Holmes from the first film), who joins Batman and the police in combating the new rising threat of a criminal mastermind calling himself "The Joker" (Heath Ledger).
Nolan's inspiration for the film was the Joker's comic book debut in 1940, the 1988 graphic novel The Killing Joke, and the 1996 series The Long Halloween, which retold Two-Face's origin. The nickname "the Dark Knight" was first applied to Batman in Batman No. 1 (1940), in a story written by Bill Finger.[4][5] The Dark Knight was filmed primarily in Chicago, as well as in several other locations in the United States, the United Kingdom, and Hong Kong. Nolan used an IMAX camera to film some sequences, including the Joker's first appearance in the film. On January 22, 2008, some months after he had completed filming on The Dark Knight and six months before the film's release, Heath Ledger died from a toxic combination of prescription drugs, leading to intense attention from the press and movie-going public. Warner Bros. had initially created a viral marketing campaign for The Dark Knight, developing promotional websites and trailers highlighting screenshots of Ledger as the Joker, but after Ledger's death, the studio refocused its promotional campaign.[6][7]
The Dark Knight was released on July 16, 2008 in Australia, on July 18, 2008 in North America, and on July 24, 2008 in the United Kingdom. Considered one of the best films of the 2000s and one of the best superhero films by film critics[8][9] the film received highly positive reviews and set numerous records during its theatrical run.[10] With over $1 billion in revenue worldwide, it is the 17th-highest-grossing film of all time, unadjusted for inflation.[11] The film received eight Academy Award nominations; it won the award for Best Sound Editing and Ledger was posthumously awarded Best Supporting Actor.[12] The Dark Knight Rises, the final film in the trilogy, was released on July 20, 2012.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Design
3.4 Effects
3.5 Music
4 Marketing
5 Release 5.1 Reception 5.1.1 Commentary
5.1.2 Themes and analysis
5.1.3 Awards
5.2 Box office
5.3 Home media
6 See also
7 References
8 Further reading
9 External links

Plot
In Gotham City, The Joker and his accomplices rob a mob-owned bank. The accomplices kill each other off one by one in a sequence masterminded by the Joker, who escapes alone with all the money.
Batman and Lt. Jim Gordon decide to include the new district attorney, Harvey Dent, in their plan to eradicate the mob. Although Dent is dating Rachel Dawes, Bruce Wayne is impressed with his idealism and offers to throw him a fundraiser. Mob bosses Sal Maroni, Gambol, and The Chechen hold a videoconference with Lau, a Chinese accountant who has hidden their funds and fled to Hong Kong. The Joker interrupts the meeting, warning that Batman is unhindered by jurisdiction. He offers to kill Batman for half their money, but the mob bosses refuse, and Gambol puts a bounty on him. The Joker kills Gambol and takes control of his men. Batman captures Lau and delivers him back to Gotham to testify against the Joker and the mob.
The Joker announces that people will die each day unless Batman reveals his identity. He then kills Commissioner Gillian B. Loeb and the judge presiding over the mob trials. He also targets Dent at the fundraiser, but Bruce hides Dent. Gordon foils the Joker's assassination attempt on Mayor Garcia, apparently sacrificing himself in the process. Bruce plans to reveal his identity, but Dent instead names himself as Batman to protect the truth. Dent is taken into protective custody and pursued by the Joker across the city; Batman rushes to Dent's aid. Gordon, who faked his death, helps apprehend the Joker and is promoted to Commissioner.
That night, Dent and Rachel disappear. Batman interrogates the Joker and discovers that Dent and Rachel are held in two separate buildings filled with explosives. The Joker reveals their locations, and Batman goes to Rachel's, only to realize that the Joker has tricked him into finding Dent moments before both buildings explode, killing Rachel and scarring half of Dent's face. The Joker detonates a bomb in the police station and escapes with Lau.
Coleman Reese, an accountant at Wayne Enterprises, deduces Batman's true identity and plans to reveal it. The Joker kills Lau and The Chechen, then threatens to bomb a hospital unless Reese is killed. Gordon and Bruce protect Reese, who changes his mind. The Joker visits Dent in the hospital and convinces him to seek revenge. The Joker then blows up the hospital and escapes with hostages.
Dent starts to go after people responsible for Rachel's death, deciding their fates by flipping a coin. He kills Maroni and a cop who had helped kidnap Rachel. It is revealed that the Joker rigged two ferries with explosives to escalate chaos; one ferry is full of citizens, the other full of prison inmates and guards. He then gives the passengers of each ferry the choice to blow the other up before midnight — otherwise, both ferries will explode. The passengers ultimately refuse.
Batman asks a reluctant Lucius Fox to use a city-wide tracking prototype device to find the Joker; Fox agrees, but says he will resign immediately afterward. The Joker dresses up hostages as his men, luring Gordon's SWAT team to strike them. Batman fights off the SWAT team and the Joker's men, then rescues the hostages. Batman apprehends the Joker, but the Joker gloats that he has won, as Gotham will lose hope once Dent's rampage becomes public. The Joker also reminds Batman that their conflict will be eternal before the SWAT team arrives to take the Joker into custody.
Dent lures Gordon to the building where Rachel died and holds Gordon's family hostage. Batman confronts Dent, who judges the fates of himself, Batman, and Gordon's son with three coin flips. He shoots Batman, spares himself, then flips again to determine the boy's fate. Batman, who is wearing body armor, tackles Dent off the building, killing him and saving the boy.[13] Batman then convinces Gordon to frame him for Dent's murders so that Dent will remain a symbol of hope for the city. Gordon destroys the Bat-Signal and launches a manhunt for the Batman. Alfred Pennyworth burns a letter written by Rachel to Bruce announcing her engagement to Dent, and Fox watches the signal tracker self-destruct.
Cast



 Cast and crew of The Dark Knight at the European premiere in London. From left to right: Director Christopher Nolan, producers Emma Thomas and Charles Roven, actors Monique Gabriela Curnen, Michael Caine, Aaron Eckhart, Maggie Gyllenhaal and Christian Bale.Christian Bale as Bruce Wayne / Batman:
A billionaire dedicated to protecting Gotham City from the criminal underworld by night. Bale said he was confident in his choice to return in the role because of the positive response to his portrayal in Batman Begins.[14] He continued training in the Keysi Fighting Method and performed many of his own stunts,[14][15] but did not gain as much muscle as in the previous film because the new Batsuit allowed him to move with greater agility.[16] Bale described Batman's dilemma as whether "[his crusade is] something that has an end. Can he quit and have an ordinary life? The kind of manic intensity someone has to have to maintain the passion and the anger that they felt as a child, takes an effort after a while, to keep doing that. At some point, you have to exorcise your demons."[17] He added, "Now you have not just a young man in pain attempting to find some kind of an answer, you have somebody who actually has power, who is burdened by that power, and is having to recognize the difference between attaining that power and holding on to it."[18] Bale felt Batman's personality had been strongly established in the first film, so it was unlikely his character would be overshadowed by the villains, stating: "I have no problem with competing with someone else. And that's going to make a better movie."[19]Michael Caine as Alfred Pennyworth:
Bruce's trusted butler and confidante. His supply of useful advice to Bruce and his likeness as a father figure has led to him being labeled "Batman's batman."[20][21]Heath Ledger as the Joker:
Before Ledger was confirmed to play the Joker in July 2006, Paul Bettany,[22] Lachy Hulme,[23] Adrien Brody,[24] Steve Carell,[25] and Robin Williams[26] publicly expressed interest in the role. However Nolan had wanted to work with Ledger on a number of projects in the past (though he had been unable to do so), and was agreeable to Ledger's chaotic interpretation of the character.[27] When Ledger saw Batman Begins, he had realized a way to make the character work that was consistent with the film's tone:[28] he described his Joker as a "psychopathic, mass murdering, schizophrenic clown with zero empathy."[29] Throughout the film, the Joker states his desire to upset social order through crime, and comes to define himself by his conflict with Batman. To prepare for the role, Ledger lived alone in a hotel room for a month, formulating the character's posture, voice, and personality, and kept a diary, in which he recorded the Joker's thoughts and feelings.[19][30] While he initially found it difficult, Ledger eventually generated a voice unlike Jack Nicholson's character in Tim Burton's 1989 Batman film.[29][30] He was also given Batman: The Killing Joke and Arkham Asylum: A Serious House on Serious Earth, which he "really tried to read and put it down."[28] Ledger also cited A Clockwork Orange and Sid Vicious as "a very early starting point for Christian [Bale] and I. But we kind of flew far away from that pretty quickly and into another world altogether."[31][32] "There's a bit of everything in him. There's nothing that consistent," Ledger said, and added, "There are a few more surprises to him."[31] Ledger was allowed to shoot and mostly direct the videos the Joker sends out as warnings. Each take Ledger made was different from the last. Nolan was impressed enough with the first video shoot that he chose to not be present when Ledger shot the video with a kidnapped reporter (Anthony Michael Hall).[33] On January 22, 2008, after he had completed filming The Dark Knight, Ledger died of an accidental prescription drug overdose, leading to intense press attention and memorial tributes. "It was tremendously emotional, right when he passed, having to go back in and look at him every day [during editing]," Nolan recalled. "But the truth is, I feel very lucky to have something productive to do, to have a performance that he was very, very proud of, and that he had entrusted to me to finish."[32] All of Ledger's scenes appear as he completed them in the filming; in editing the film, Nolan added no "digital effects" to alter Ledger's actual performance posthumously.[34] Nolan has dedicated the film in part to Ledger's memory.[35][36]Gary Oldman as James Gordon:
A lieutenant in the Gotham City Police Department and one of the city's few honest police officers. He forms a tenuous, unofficial alliance with Batman and Dent. When the Joker assassinates Police Commissioner Loeb, Mayor Garcia gives Gordon the position. Oldman described his character as "incorruptible, virtuous, strong, heroic, but understated."[37] Nolan explained that "The Long Halloween has a great, triangular relationship between Harvey Dent and Gordon and Batman, and that's something we very much drew from."[38] Oldman added that "Gordon has a great deal of admiration for him at the end, but [Batman] is more than ever now the dark knight, the outsider. I'm intrigued now to see: If there is a third one, what he's going to do?"[38] On the possibility of another sequel, he said that "returning to [the role] is not dependent on whether the role was bigger than the one before."[39]Aaron Eckhart as Harvey Dent / Two-Face:
The district attorney who is hailed as Gotham's "White Knight". His battle with the criminal underworld leaves him disfigured, transforming him into a murderer bent on revenge.[40][41] Wayne sees Dent as his heir, recognizing that Batman's war on crime will be a lifelong mission, which heightens the tragedy of Dent's downfall.[36] Nolan and David S. Goyer had originally considered using Dent in Batman Begins, but they replaced him with the new character Rachel Dawes when they realized they "couldn't do him justice."[42] Before Eckhart was cast in February 2007, Liev Schreiber,[43] Josh Lucas,[44] and Ryan Phillippe[45] had expressed interest in the role,[46] while Mark Ruffalo auditioned.[47] Hugh Jackman was also considered for the part. Nolan chose Eckhart, whom he had considered for the lead role in Memento, citing his "extraordinary" ability as an actor, his embodiment of "that kind of chiselled, American hero quality" projected by Robert Redford, and his subtextual "edge."[48] Eckhart was "interested in good guys gone wrong," and had played corrupt men in films such as The Black Dahlia, Thank You for Smoking, and In the Company of Men. Whereas Two-Face is depicted as a crime boss in most characterizations, Nolan chose to portray him as a twisted vigilante to emphasize his role as Batman's counterpart. Eckhart explained, "[He] is still true to himself. He's a crime fighter, he's not killing good people. He's not a bad guy, not purely."[40][41] For Dent, Eckhart "kept on thinking about the Kennedys," particularly Robert F. Kennedy, who was "idealistic, held a grudge and took on the Mob." He had his hair lightened and styled to make him appear more dashing. Nolan told Eckhart to not make Dent's Two-Face persona "jokey with slurping sounds or ticks."[49]Maggie Gyllenhaal as Rachel Dawes:
The Gotham assistant district attorney and Wayne's childhood friend. In Batman Begins, she tells Wayne that if he ever decided to stop being Batman, they would be together. She is one of the few people to know Batman's identity. Gyllenhaal took over the role from Katie Holmes, who played the part in Batman Begins. In August 2005, Holmes was reportedly planning to reprise the role,[50] but she eventually turned it down to do Mad Money with Diane Keaton and Queen Latifah.[51] By March 2007, Gyllenhaal was in "final talks" for the part.[52] Gyllenhaal has acknowledged her character is a damsel in distress to an extent, but says Nolan sought ways to empower her character, so "Rachel's really clear about what's important to her and unwilling to compromise her morals, which made a nice change" from the many conflicted characters whom she has previously portrayed.[53]Morgan Freeman as Lucius Fox:
The recently promoted chief executive officer of Wayne Enterprises who, now fully aware of his employer's double life, serves more directly as Bruce's armorer in addition to his corporate duties.[54]Eric Roberts as Sal Maroni:
A gangster who has taken over Carmine Falcone's mob. Bob Hoskins and James Gandolfini auditioned for the role.[55]Chin Han as Lau:
The accountant who handles the money for the mob.Colin McFarlane as Gillian B. Loeb:
The Police Commissioner of Gotham until his murder at the hands of the Joker.[56]
The film's supporting protagonists include Nestor Carbonell as Mayor Anthony Garcia, Keith Szarabajka as Detective Gerard Stephens, Monique Gabriela Curnen as Anna Ramirez, and Ron Dean as Detective Michael Wuertz. While Stephens is an honest cop, Ramirez and Wuertz are in the pocket of the mob, and betray Harvey Dent and Rachel Dawes to the Joker. (Ramirez is drawn as a somewhat sympathetic character, however; she only started working for the mob because she was desperate to afford to her mother's hospital bills.) The cast also included Anthony Michael Hall as Gotham Cable News reporter Mike Engel, Nydia Rodriguez Terracina as Judge Janet Surrillo, Joshua Harto as Coleman Reese, Melinda McGraw and Nathan Gamble as Gordon's wife and son, and Tom "Tiny" Lister, Jr. as a prison inmate on one of the bomb-rigged ferries. The film's supporting villains include Michael Jai White and Ritchie Coster as mob bosses Gambol and The Chechen, respectively. William Fichtner played the Gotham National Bank manager. David Banner originally auditioned for the role of Gambol.[57] Cillian Murphy returns in a cameo as Dr. Jonathan Crane / Scarecrow, who is apprehended early on in the film by Batman.[58]
Musician Dwight Yoakam was approached for the roles of either the manager or a corrupt cop, but he chose to focus on his album Dwight Sings Buck.[59] Another cameo was made by United States Senator Patrick Leahy, a fan of Batman comics who was previously an extra in the 1997 film Batman & Robin and also was a guest voice actor on Batman: The Animated Series. Leahy appears as a guest who defies the Joker when he and his henchmen attack Bruce's fundraiser, saying "We are not intimidated by thugs."[60] Matt Skiba, lead singer of Chicago punk band Alkaline Trio, made a small appearance in the movie.[61]
Production
Development



"As we looked through the comics, there was this fascinating idea that Batman's presence in Gotham actually attracts criminals to Gotham, [it] attracts lunacy. When you're dealing with questionable notions like people taking the law into their own hands, you have to really ask, where does that lead? That's what makes the character so dark, because he expresses a vengeful desire."
—Nolan, on the theme of escalation[18]
Before the release of Batman Begins, screenwriter David S. Goyer wrote a treatment for two sequels which introduced the Joker and Harvey Dent.[62] His original intent was for the Joker to scar Dent during the Joker's trial in the third film, turning Dent into Two-Face.[63] Goyer, who penned the first draft of the film, cited the DC Comics 13-issue comic book limited series Batman: The Long Halloween as the major influence on his storyline.[42] While initially uncertain of whether or not he would return to direct the sequel, Nolan did want to reinterpret the Joker on screen.[19] On July 31, 2006, Warner Bros. officially announced initiation of production for the sequel to Batman Begins titled The Dark Knight;[64] it is the first live-action Batman film without the word "Batman" in its title, which Bale noted as signaling that "this take on Batman of mine and Chris' is very different from any of the others."[65]
After much research, Nolan's brother and co-writer, Jonathan, suggested the Joker's first two appearances, published in the first issue of Batman (1940), as the crucial influences.[27] Jerry Robinson, one of the Joker's co-creators, was consulted on the character's portrayal.[66] Nolan decided to avoid divulging an in-depth origin story for the Joker, and instead portray his rise to power so as to not diminish the threat he poses, explaining to MTV News, "the Joker we meet in The Dark Knight is fully formed...To me, the Joker is an absolute. There are no shades of gray to him – maybe shades of purple. He's unbelievably dark. He bursts in just as he did in the comics."[67] Nolan reiterated to IGN, "We never wanted to do an origin story for the Joker in this film," because "the arc of the story is much more Harvey Dent's; the Joker is presented as an absolute. It's a very thrilling element in the film, and a very important element, but we wanted to deal with the rise of the Joker, not the origin of the Joker."[27] Nolan suggested Batman: The Killing Joke influenced a section of the Joker's dialogue in the film, in which he says that anyone can become like him given the right circumstances.[68] Nolan also cited Heat as "sort of an inspiration" for his aim "to tell a very large, city story or the story of a city": "If you want to take on Gotham, you want to give Gotham a kind of weight and breadth and depth in there. So you wind up dealing with the political figures, the media figures. That's part of the whole fabric of how a city is bound together."[27]
According to Nolan, an important theme of the sequel is "escalation," extending the ending of Batman Begins, noting "things having to get worse before they get better."[69] While indicating The Dark Knight would continue the themes of Batman Begins, including justice vs. revenge and Bruce Wayne's issues with his father,[70] Nolan emphasized the sequel would also portray Wayne more as a detective, an aspect of his character not fully developed in Batman Begins.[16] Nolan described the friendly rivalry between Bruce Wayne and Harvey Dent as the "backbone" of the film.[67] He also chose to compress the overall storyline, allowing Dent to become Two-Face in The Dark Knight, thus giving the film an emotional arc the unsympathetic Joker could not offer.[68] Nolan acknowledged the title was not only a reference to Batman, but also the fallen "white knight" Harvey Dent.[71]
Filming
While scouting for shooting locations in October 2006, location manager Robin Higgs visited Liverpool, concentrating mainly along the city's waterfront. Other candidates included Yorkshire, Glasgow, and parts of London.[72] In August 2006, one of the film's producers, Charles Roven, stated that its principal photography would begin in March 2007,[73] but filming was pushed back to April.[74] For its release in IMAX theaters, Nolan shot four major sequences in that format, including the Joker's opening bank robbery and the car chase midway through the film, which marked the first time that a feature film had been even partially shot in the format.[75] The cameras used for non-IMAX 35 mm scenes were Panavision's Panaflex Millennium XL and Platinum.[76]
For fifteen years Nolan had wanted to shoot in the IMAX format, and he also used it for "quiet scenes which pictorially we thought would be interesting."[67] The use of IMAX cameras provided many new challenges for the filmmakers: the cameras were much larger and heavier than standard cameras, and produced noise which made recording dialogue difficult.[77] In addition, the cameras had short film loads ranging from 30 seconds to two minutes[77] and the cost of the film stock was much greater than standard 35mm film.[78] Nevertheless, Nolan said that he wished that it were possible to shoot the entire film in IMAX: "if you could take an IMAX camera to Mount Everest or outer space, you could use it in a feature movie."[79] In addition, Nolan chose to edit some of the IMAX sequences using the original camera negative, which by eliminating generation loss, raised the film resolution of those sequences up to 18 thousand lines.[80]



 Director Christopher Nolan (far left) and actor Heath Ledger (in make-up) filming a scene in The Dark Knight with an IMAX camera
Warner Bros. chose to film in Chicago for 13 weeks, because Nolan had a "truly remarkable experience" filming part of Batman Begins there.[81][82][dead link] Instead of using the Chicago Board of Trade Building as the location for the headquarters of Wayne Enterprises, as Batman Begins did,[83] The Dark Knight shows Wayne Enterprises as being headquartered in the Richard J. Daley Center.[84] While filming in Chicago, the film was given the false title Rory's First Kiss to lower the visibility of production, but the local media eventually uncovered the ruse.[85] Richard Roeper of the Chicago Sun-Times commented on the absurdity of the technique, "Is there a Bat-fan in the world that doesn't know Rory's First Kiss is actually The Dark Knight, which has been filming in Chicago for weeks?"[86] Production of The Dark Knight in Chicago generated $45 million in the city's economy and created thousands of jobs.[87] For the film's prologue involving the Joker, the crew shot in Chicago from April 18, 2007 to April 24, 2007.[88][89] They returned to shoot from June 9, 2007 to early September.[87] Noticeably, unlike Batman Begins, less CGI was used to disguise Chicago. Many recognizable locations were used in the film, like the Sears Tower, Navy Pier, 330 North Wabash, the James R. Thompson Center, Trump International Hotel and Tower, LaSalle Street, The Berghoff, Randolph Street Station, and Hotel 71. An old Brach's factory was used as Gotham Hospital. The defunct Van Buren Street post office doubles as Gotham National Bank for the opening bank robbery. Several sequences, including one car chase, were shot on the lower level of Wacker Drive.[84][90] The Marina City towers also appear in the background throughout the movie.[84]
Pinewood Studios, near London, was the primary studio space used for the production.[91][dead link] While planning a stunt with the Batmobile in a special effects facility near Chertsey, England in September 2007, technician Conway Wickliffe was killed when his car crashed.[92] The film is dedicated to both Ledger and Wickliffe.[35] The following month in London at the defunct Battersea Power Station, a rigged 200-foot fireball was filmed, reportedly for an opening sequence, prompting calls from local residents who feared a terrorist attack on the station.[93] A similar incident occurred during the filming in Chicago, when an abandoned Brach's candy factory (which was Gotham Hospital in the film) was demolished.[94][dead link]
Filming took place in Hong Kong from November 6 to 11, 2007, at various locations in the CBD, including Hong Kong's tallest building at the time, the International Finance Centre, for the scene where Batman captures Lau.[95][96][97] The city's walled city of Kowloon influenced the Narrows in Batman Begins.[98] The shoot hired helicopters and C-130 aircraft.[95] Officials expressed concern over possible noise pollution and traffic.[96] In response, letters sent to the city's residents promised that the sound level would approximate noise decibels made by buses.[95] Environmentalists also criticized the filmmakers' request to tenants of the waterfront skyscrapers to keep their lights on all night to enhance the cinematography, describing it as a waste of energy.[96] Cinematographer Wally Pfister found the city officials a "nightmare," and ultimately Nolan had to create Batman's jump from a skyscraper digitally.[34]
Design
Costume designer Lindy Hemming described the Joker's look as reflecting his personality, in that "he doesn't care about himself at all"; she avoided designing him as a vagrant, but still made him appear to be "scruffier, grungier," so that "when you see him move, he's slightly twitchier or edgy."[19][30][30] Nolan noted, "We gave a Francis Bacon spin to [his face]. This corruption, this decay in the texture of the look itself. It's grubby. You can almost imagine what he smells like."[99] In creating the "anarchical" look of the Joker, Hemming drew inspiration from such countercultural pop culture artists as Pete Doherty, Iggy Pop, and Johnny Rotten.[100] Ledger described his "clown" mask, made up of three pieces of stamped silicone, as a "new technology," taking less than an hour for the make-up artists to apply, much faster than more-conventional prosthetics usually requires. Ledger also said that he felt he was barely wearing any make-up.[19][101]
Hemming and Ledger's Joker design has had an impact in popular and political culture in the form of the Barack Obama "Joker" poster, and has since become a meme in its own right.[102]
Designers improved on the design of the Batsuit from Batman Begins, adding wide elastic banding to help bind the costume to Bale, and suggest more sophisticated technology. It was constructed from 200 individual pieces of rubber, fiberglass, metallic mesh, and nylon. The new cowl was modeled after a motorcycle helmet and separated from the neck piece, allowing Bale to turn his head left and right and nod up and down.[103] The cowl is equipped to show white lenses over the eyes when the character turns on his sonar detection, which gives Batman the white eyed look from the comics and animation.[104] The gauntlets have retractable razors which can be fired.[103] Though the new costume is eight pounds heavier, Bale found it more comfortable and not as hot to wear.[16] The depiction of Gotham City is less gritty than in Batman Begins. "I've tried to unclutter the Gotham we created on the last film," said production designer Nathan Crowley. "Gotham is in chaos. We keep blowing up stuff, so we can keep our images clean."[18]
Effects



 Aaron Eckhart with make-up and motion capture markers on set. Below is the finished effect.
The film introduces the Batpod, which is a recreation of the Batcycle. Production designer Nathan Crowley, who designed the Tumbler for Batman Begins, designed six models (built by special effects supervisor Chris Corbould) for use in the film's production, because of necessary crash scenes and possible accidents.[105] Crowley built a prototype in Nolan's garage, before six months of safety tests were conducted.[16] The Batpod is steered by shoulder instead of hand, and the rider's arms are protected by sleeve-like shields. The bike has 508-millimeter (20-inch) front and rear tires, and is made to appear as if it is armed with grappling hooks, cannons, and machine guns. The engines are located in the hubs of the wheels, which are set 31⁄2 feet (1067 mm) apart on either side of the tank. The rider lies belly down on the tank, which can move up and down to dodge any incoming gunfire that Batman may encounter. Stuntman Jean-Pierre Goy doubled for Christian Bale during the riding sequences in The Dark Knight.[105]
Nolan designed Two-Face's appearance in the film as one of the least disturbing, explaining, "When we looked at less extreme versions of it, they were too real and more horrifying. When you look at a film like Pirates of the Caribbean – something like that, there's something about a very fanciful, very detailed visual effect, that I think is more powerful and less repulsive."[106][dead link] Framestore created 120 computer-generated shots of Two-Face's scarred visage. Nolan felt using make-up would look unrealistic, as it adds to the face, unlike real burn victims. Framestore acknowledged they rearranged the positions of bones, muscles and joints to make the character look more dramatic. For each shot, three 720-pixel HD cameras were set up at different angles on set to fully capture Aaron Eckhart's performance. Eckhart wore markers on his face and a prosthetic skullcap, which acted as a lighting reference. A few shots of the skullcap were kept in the film. Framestore also integrated shots of Bale and Eckhart into that of the exploding building where Dent is burned. It was difficult simulating fire on Eckhart because it is inherently unrealistic for only half of something to burn.[107]
Music
Main article: The Dark Knight (soundtrack)
Batman Begins composers Hans Zimmer and James Newton Howard returned to score the sequel. Composition began before shooting, and during filming Nolan received an iPod with ten hours of recordings.[108] Their nine-minute suite for the Joker, "Why So Serious?," is based around two notes. Zimmer compared its style to that of Kraftwerk, a band from his native Germany, as well as bands like The Damned.[109] When Ledger died, Zimmer felt like scrapping and composing a new theme, but decided that he could not be sentimental and compromise the "evil [Ledger's performance] projects."[110] Howard composed Dent's "elegant and beautiful" themes,[109] which are brass-focused.[108]
Marketing
"Why So Serious?" redirects here. For the Shinee album and song, see Chapter 2. Why So Serious? – The Misconceptions of Me and Why So Serious? (song).



WhySoSerious.com directed fans to find letters composing the Joker's message "The only sensible way to live in this world is without rules," to send in photographs of these letters, and then featured their photos in a collage.
In May 2007, 42 Entertainment began a viral marketing campaign utilizing the film's "Why So Serious?" tagline with the launch of a website featuring the fictional political campaign of Harvey Dent, with the caption, "I Believe in Harvey Dent."[111] The site aimed to interest fans by having them try to earn what they wanted to see and, on behalf of Warner Bros., 42 Entertainment also established a "vandalized" version of I Believe in Harvey Dent, called "I believe in Harvey Dent too," where e-mails sent by fans slowly removed pixels, revealing the first official image of the Joker; it was ultimately replaced with many "Haha"s and a hidden message that said "see you in December."[112]
During the 2007 San Diego Comic-Con International, 42 Entertainment launched WhySoSerious.com, sending fans on a scavenger hunt to unlock a teaser trailer and a new photo of the Joker.[113] On October 31, 2007, the film's website morphed into another scavenger hunt with hidden messages, instructing fans to uncover clues at certain locations in major cities throughout the United States, and to take photographs of their discoveries. The clues combined to reveal a new photograph of the Joker and an audio clip of him from the film saying "And tonight, you're gonna break your one rule." Completing the scavenger hunt also led to another website called Rory's Death Kiss[114] (referencing the false working title of Rory's First Kiss), where fans could submit photographs of themselves costumed as the Joker. Those who sent photos were mailed a copy of a fictional newspaper called The Gotham Times, whose electronic version led to the discovery of numerous other websites.[115][116]



Toyota Formula One racing car featuring the Batman insignia, at the 2008 British Grand Prix
The Dark Knight's opening sequence, (showing a bank raid by the Joker) and closing montage of other scenes from the film, was screened with selected IMAX screenings of I Am Legend, which was released on December 14, 2007.[67] A theatrical teaser was also released with non-IMAX showings of I Am Legend, and also on the official website.[117] The sequence was released on the Blu-ray Disc edition of Batman Begins on July 8, 2008.[118] Also on July 8, 2008, the studio released Batman: Gotham Knight, a direct-to-DVD animated film, set between Batman Begins and The Dark Knight and featuring six original stories, directed by Bruce Timm, co-creator and producer of Batman: The Animated Series, and starring veteran Batman voice actor Kevin Conroy. Each of these segments, written by Josh Olson, David S. Goyer, Brian Azzarello, Greg Rucka, Jordan Goldberg, and Alan Burnett, presents its own distinctive artistic style, paralleling numerous artists collaborating in the same DC Universe.[119]



Movie poster for The Dark Knight, seen in Paris' Rue Saint-Honoré in August 2008.
After the death of Heath Ledger on January 22, 2008, Warner Bros. adjusted its promotional focus on the Joker,[6] revising some of its websites dedicated to promoting the film and posting a memorial tribute to Ledger on the film's official website[120] and overlaying a black memorial ribbon on the photo collage in WhySoSerious.com.[121] On February 29, 2008, I Believe in Harvey Dent was updated to enable fans to send their e-mail addresses and phone numbers.[122] In March 2008, Harvey Dent's fictional campaign informed fans that actual campaign buses nicknamed "Dentmobiles" would tour various cities to promote Dent's candidacy for district attorney.[123]
On May 15, 2008, Six Flags Great America and Six Flags Great Adventure theme parks opened The Dark Knight roller coaster, which cost US$7.5 million to develop and which simulates being stalked by the Joker.[124] Mattel produced toys and games for The Dark Knight, action figures, role play costumes, board games, puzzles, and a special-edition UNO card game, which began commercial distribution in June 2008.[125]
Warner Bros. devoted six months to an anti-piracy strategy that involved tracking the people who had a pre-release copy of the film at any one time. Shipping and delivery schedules were also staggered and spot checks were carried out both domestically and overseas to ensure illegal copying of the film was not taking place in cinemas.[126] A pirated copy was released on the Web approximately 38 hours after the film's release. BitTorrent search engine The Pirate Bay taunted the movie industry over its ability to provide the movie free, replacing its logo with a taunting message.[127]

Release
Warner Bros. held the world premiere for The Dark Knight in New York City on July 14, 2008, screening in an IMAX theater with the film's composers James Newton Howard and Hans Zimmer playing a part of the film score live.[128] Leading up to The Dark Knight's commercial release, the film had drawn "overwhelmingly positive early reviews and buzz on Heath Ledger's turn as the Joker."[129] The Dark Knight was commercially released on July 16, 2008 in Australia, grossing almost $2.3 million in its first day.[130][dead link]
In the United States and Canada, The Dark Knight was distributed to 4,366 theaters, breaking the previous record for the highest number of theaters held by Pirates of the Caribbean: At World's End in 2007. The number of theaters also included 94 IMAX theaters, with the film estimated to be played on 9,200 screens in the United States and Canada.[130] Online, ticketing services sold enormous numbers of tickets for approximately 3,000 midnight showtimes as well as unusually early showtimes for the film's opening day. All IMAX theaters showing The Dark Knight were sold out for the opening weekend.[131]
Reception



 Heath Ledger's performance was praised and ultimately won him an Academy Award.
Based on 289 reviews collected by Rotten Tomatoes, the film received a 94% approval rating from critics, with an average score of 8.5/10.[132] By comparison, Metacritic, which assigns a normalized rating in the 0–100 range based on reviews from top mainstream critics, calculated an average score of 82, based on 39 reviews.[133] CinemaScore polls reported that the average grade cinemagoers gave the film was "A" on an A+ to F scale, and that audiences skewed slightly male and older.[134]
Five days after the film's release, it sat on the No. 1 spot on Internet Movie Database's list of top 250 movies of all time.[135] As of May 2013, The Dark Knight ranks No. 6 on that list, with its predecessor and successor ranking #105 and #49, respectively.[136]
Roger Ebert of the Chicago Sun-Times, awarding four out of four stars, described The Dark Knight as a "haunted film that leaps beyond its origins and becomes an engrossing tragedy." He praised the performances, direction, and writing, saying the film "redefine[s] the possibilities of the comic-book movie." Ebert stated that the "key performance" is by Heath Ledger, and pondered whether he would become the first posthumous Academy Award-winning actor since Peter Finch in 1976. (Ledger ultimately won the Oscar.)[137] Ebert named it one of his twenty favorite films of 2008.[138] Peter Travers of Rolling Stone writes that the film is deeper than its predecessor, with a "deft" script that refuses to scrutinize the Joker with popular psychology, instead pulling the viewer in with an examination of Bruce Wayne's psyche.[139] Travers has praise for all the cast, saying each brings his or her "'A' game" to the film. He says Bale is "electrifying," evoking Al Pacino in The Godfather Part II, and that Eckhart's portrayal of Harvey Dent is "scarily moving."[139] Travers says the actor moves the Joker away from Jack Nicholson's interpretation into darker territory, and expresses his support for any potential campaign to have Ledger nominated for an Academy Award,[139] Travers says that the filmmakers move the film away from comic book cinema and closer to being a genuine work of art, citing Nolan's direction and the "gritty reality" of Wally Pfister's cinematography as helping to create a universe that has something "raw and elemental" at work within it. In particular, he cites Nolan's action choreography in the IMAX-tailored heist sequence as rivaling that of Heat (1995).[139] Manohla Dargis of The New York Times wrote "Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind."[140] Entertainment Weekly put it on its end-of-the-decade, "best-of" list, saying, "Every great hero needs a great villain. And in 2008, Christian Bale's Batman found his in Heath Ledger's demented dervish, the Joker."[141]
Emanuel Levy wrote Ledger "throws himself completely" into the role,[142] and that the film represents Nolan's "most accomplished and mature" work, and the most technically impressive and resonant of all the Batman films. Levy calls the action sequences some of the most impressive seen in an American film for years, and talks of the Hong Kong-set portion of the film as being particularly visually impressive.[142] Levy and Peter Travers conclude that the film is "haunting and visionary,"[139][142] while Levy goes on to say that The Dark Knight is "nothing short of brilliant."[142] On the other hand, David Denby of The New Yorker said that the story is not coherent enough to properly flesh out the disparities. He said the film's mood is one of "constant climax," and that it feels rushed and far too long. Denby criticized scenes which he argued to be meaningless or are cut short just as they become interesting.[143] Denby remarks that the central conflict is workable, but that "only half the team can act it," saying that Bale's "placid" Bruce Wayne and "dogged but uninteresting" Batman is constantly upstaged by Ledger's "sinister and frightening" performance, which he says is the film's one element of success. Denby concludes that Ledger is "mesmerising" in every scene.[143] The vocalization of Christian Bale's Batman (which was partly altered during post-production) was the subject of particular criticism by some commentators, with David Edelstein from NPR describing Bale delivering his performance with "a voice that's deeper and hammier than ever". Alonso Duralde at MSNBC, however, referred to Bale's voice in The Dark Knight as an "eerie rasp", as opposed to the voice used in the Batman Begins, which according to Duralde "sounded absurdly deep, like a 10-year-old putting on an ‘adult’ voice to make prank phone calls".[144][145]
The Dark Knight was ranked the 15th greatest film in history on Empire's 2008 list of the "500 Greatest Movies of All Time," based upon the weighted votes of 10,000 readers, 150 film directors, and 50 key film critics.[146] Heath Ledger's interpretation of the Joker was also ranked number three on Empire's 2008 list of the "100 Greatest Movie Characters of All Time."[147] In June 2010, the Joker was ranked number five on Entertainment Weekly's "100 Greatest Characters of the Last 20 Years".[148] Paste magazine named it one of the 50 Best Movies of the Decade (2000–2009), ranking it at number 11.[8] The Dark Knight was included in American Cinematographer's "Best-Shot Film of 1998-2008" list, ranking in the top 10. More than 17,000 people around the world participated in the final vote.[149] In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their eight favorite film of all time.[150] In 2012, Total Film ranked The Dark Knight as the sixth most accomplished film of the past 15 years, writing that "Christopher Nolan's psycho-operatic crime drama was its decade's most exciting blockbuster – and its most challenging."[151]
Commentary
Mystery writer Andrew Klavan, writing in The Wall Street Journal, compared the extreme measures that Batman takes to fight crime with those U.S. President George W. Bush used in the War on Terror. Klavan claims that, "at some level" The Dark Knight is "a paean of praise to the fortitude and moral courage that has been shown by George W. Bush in this time of terror and war." Klavan supports this reading of the film by comparing Batman—like Bush, Klavan argues—"sometimes has to push the boundaries of civil rights to deal with an emergency, certain that he will re-establish those boundaries when the emergency is past."[152][dead link] Klavan's article has received criticism on the Internet and in mainstream media outlets, such as in The New Republic's "The Plank."[153] Reviewing the film in The Sunday Times, Cosmo Landesman reached the opposite conclusion to Klavan, arguing that The Dark Knight "offers up a lot of moralistic waffle about how we must hug a terrorist – okay, I exaggerate. At its heart, however, is a long and tedious discussion about how individuals and society must never abandon the rule of law in struggling against the forces of lawlessness. In fighting monsters, we must be careful not to become monsters – that sort of thing. The film champions the anti-war coalition's claim that, in having a war on terror, you create the conditions for more terror. We are shown that innocent people died because of Batman – and he falls for it."[154] Benjamin Kerstein, writing in Azure, says that both Klavan and Landesman "have a point," because "The Dark Knight is a perfect mirror of the society which is watching it: a society so divided on the issues of terror and how to fight it that, for the first time in decades, an American mainstream no longer exists."[155]
Themes and analysis
According to David S. Goyer, the primary theme of The Dark Knight is escalation.[156] Gotham City is weak and the citizens blame Batman for the city's violence and corruption as well as the Joker's threats, and it pushes his limits, making him feel that taking the laws into his own hands is further downgrading the city. Roger Ebert noted, "Throughout the film, [the Joker] devises ingenious situations that force Batman, Commissioner Gordon and District Attorney Harvey Dent to make impossible ethical decisions. By the end, the whole moral foundation of the Batman legend is threatened."[137]
Other critics have mentioned the theme of the triumph of evil over good. Harvey Dent is seen as Gotham's "White Knight" in the beginning of the film but ends up becoming seduced to evil.[71] The Joker, on the other hand, is seen as the representation of anarchy and chaos. He has no motive, no orders, and no desires but to cause havoc and "watch the world burn." The terrible logic of human error is another theme as well. The ferry scene displays how humans can easily be enticed by iniquity.[157]
Awards
Main article: List of accolades received by The Dark Knight



 The Tumbler in use at the film's European premiere
Most notable among the nominations were Heath Ledger's almost complete sweep of over twenty awards for acting, including the Academy Award for Best Supporting Actor, Screen Actors Guild Award for Best Supporting Actor, the Golden Globe Award for Best Supporting Actor – Motion Picture, and the BAFTA Award for Best Actor in a Supporting Role. The Dark Knight also received nominations from the Writers Guild of America (for Best Adapted Screenplay), the Producers Guild of America, and the Directors Guild of America, as well as a slew of other guild award nominations and wins. It was nominated for Best Film at the Critics Choice Awards and was named one of the top ten films of 2008 by the American Film Institute.
The Dark Knight was nominated for eight Academy Awards for the 81st Ceremony,[158] breaking the previous record of seven held by Dick Tracy[159] for the most nominations received by a film based on a comic book, comic strip, or graphic novel. The Dark Knight won two awards: Best Supporting Actor for Heath Ledger and Best Sound Editing. It was additionally nominated for six others, these being Best Art Direction, Best Cinematography, Best Sound Mixing, Best Visual Effects, Best Makeup, and Best Film Editing. Heath Ledger was the first posthumous winner of the Best Supporting Actor award, and only the second posthumous acting winner ever (Peter Finch posthumously won the Best Actor award for his performance in the 1976 film Network). In addition, Ledger's win marked the first win in any of the major Oscar categories (producing, directing, acting, or writing) for a superhero-based film. Notably, Richard King's win in the Sound Editing category blocked a complete awards sweep of the evening by the eventual Best Picture winner, Slumdog Millionaire. Although it did not receive a Best Picture nomination, the show's opening song paid homage to The Dark Knight along with the five Best Picture nominees, including host Hugh Jackman riding on a mockup of the Batpod made out of garbage. In spite of the film's critical success, the film was noticeably absent from the Best Picture nominee list, prompting controversy and led many to criticize the Academy Awards for "snubbing" the film.[160][161] There was speculation that the Academy of Motion Picture Arts and Sciences later changed their number of Best Picture nominees to ten, instead of the traditional five, because of the film's omission. In a question-and-answer session that followed the announcement, the Academy's then president Sidney Ganis said; "I would not be telling you the truth if I said the words Dark Knight did not come up."[162]
A British-American production, the film was nominated for the 2009 Goya Award for Best European Film.[163] It had a nomination in Japan for the 2009 Seiun Awards under the Science Fiction category[164] with a Japan Academy Prize Award for Best Foreign Film.[165]
Box office



 A sign of the film's pre-release at Coliseum cinema in Barcelona, Spain
The Dark Knight earned $534,858,444 in North America and $469,700,000 in other territories for a worldwide total of $1,004,558,444. It became the fourth film in history to gross more than $1 billion worldwide and the highest-grossing film of 2008 worldwide. It is currently the 17th-highest-grossing film of all time worldwide. It made $199.7 million on its worldwide opening weekend which ranks 28th on the all-time chart.[166]
In an attempt to cross $1 billion in worldwide gross and in order to increase the chances of the film winning Oscars since the voting for the Academy Awards was approaching, Warner Bros. re-released the film in traditional theaters and IMAX theaters in the United States – as well as in other countries- on January 23, 2009.[167][168] It finally accomplished its goal, to cross the $1-billion-mark, in February 2009.[169] Therefore, as of March 2009, its total earnings stand at over $1 billion worldwide.
North America
The Dark Knight opened on Friday, July 18, 2008. It set a record for midnight showings, by earning $18.5 million from 3,040 theaters[170] (a record first surpassed by Harry Potter and the Half-Blood Prince).[171] The midnight opening included $640,000 from IMAX screenings.[172] It was then shown on 9,200 screens at a record 4,366 theaters (a record first surpassed by Iron Man 2),[173] also setting an opening- and single-day record gross, with $67.2 million[170][174] (both records first surpassed by The Twilight Saga: New Moon),[175] and an opening weekend record, with $158.4 million[170][176][177] (first surpassed by Harry Potter and the Deathly Hallows – Part 2).[178] The weekend per theater average of $36,283 stands as the fifth-largest of all time.[179] It sold an estimated 22.37 million tickets during its first weekend with 2008's average admission of $7.08, meaning the film sold more tickets than Spider-Man 3, which sold 21.96 million with the average price of $6.88 in 2007.[180][181] Additionally, the film set an IMAX opening weekend record, with $6.3 million[170] (a record first surpassed by Star Trek).[182] It achieved the largest Sunday gross, with $43.6 million,[170] and the largest opening week from Friday to Thursday, with $238.6 million (both records surpassed by Marvel's The Avengers).[183][184] It also achieved the largest cumulative gross through its third and fourth day of release (both records first surpassed by Deathly Hallows – Part 2), and so on until its tenth day of release (records surpassed by Marvel's The Avengers).[185] Moreover, it was the fastest film to reach $100 million (a record first surpassed by New Moon), $150 million and each additional $50 million through $450 million (records surpassed by Marvel's The Avengers), and $500 million (a record first surpassed by Avatar).[186] Finally, it achieved the largest second-weekend gross (a record first surpassed by Avatar).[187]
It has grossed the fourth largest Saturday gross ($51,336,732). On its first Monday, it grossed $24.5 million, which stands as the largest non-holiday Monday gross and the 4th largest Monday gross overall, and on its first Tuesday it grossed another $20.9 million, which stands as the largest non-opening Tuesday gross and the second largest Tuesday gross overall.[188] Notably, it topped the box office during the second biggest weekend of all time in North America (aggregated total of $253,586,871)[189] and it was the only 2008 film that remained on top of the box office charts for four consecutive weekends.[190]
The Dark Knight is the highest-grossing 2008 film, the second-highest-grossing superhero film, the second-highest-grossing film based on comics and the fourth highest-grossing film of all time in North America. Adjusted for ticket-price inflation though, it ranks 28th.[191] In contrast to Avatar and Titanic, both which grossed more than The Dark Knight in North America and had slow but steady earnings, The Dark Knight broke records in its opening weekend and slowed down significantly after its first few weekends.[188][192]
Markets outside North America
Overseas, The Dark Knight is the highest-grossing 2008 film[193] and the fourth-highest-grossing superhero film. It premiered in 20 other territories on 4,520 screens, grossing $41.3 million in its first weekend.[194][dead link] The film came in second to Hancock, which was in its third weekend, screening in 71 territories. The Dark Knight's biggest territory was Australia, where it grossed $13.7 million over the weekend, setting a record for the largest superhero film opening.[195] It topped the weekend box office outside North America three consecutive times and four in total. Citing cultural sensitivities to some elements in the film, and a reluctance to adhere to pre-release conditions, Warner Bros. declined to release the film in mainland China.[196] Its highest-grossing market after North America was the UK, Ireland and Malta, where it earned $89.1 million. Also, in Australia, it earned of $39.9 million, still remaining in the all-time top 10 of the country.[197] The five highest-grossing markets outside North America also include Germany ($29.7 million), France and the Maghreb region ($27.5 million) and South Korea ($25.0 million).[198]
Home media
The film was released on DVD and Blu-ray Disc in North America on December 9, 2008. Releases include a one-disc edition DVD; a two-disc Special Edition DVD; a two-disc edition BD; and a Special Edition BD package featuring a statuette of the Bat-pod.[199] The BD/iTunes version presents the film in a variable aspect ratio, with the IMAX sequences framed in 1.78:1, while scenes filmed in 35 mm are framed in 2.40:1.[200] The DVD versions feature the entire film framed in a uniform 2.40:1 aspect ratio. Disc 2 of the two-disc Special Edition DVD features the six main IMAX sequences in the original 1.44:1 aspect ratio. Additional IMAX shots throughout the film that are presented in 1.78:1 on the Blu-ray release are not, however, included in the DVD's special features. In addition to the standard DVD releases, some stores released their own exclusive editions of the film.
In the United Kingdom, the film had combined sales of 513,000 units on its first day of release, of which 107,730 (21%) were Blu-ray Discs, the highest number of first-day Blu-ray Discs sold.[201] In the United States, The Dark Knight set a sales record for most DVDs sold in one day, selling 3 million units on its first day of release – 600,000 of which were Blu-ray Discs.[202]
The DVD and Blu-ray Disc editions were released in Australia on December 10, 2008. Releases were in the form of a one-disc edition on DVD; a two-disc edition on DVD; a two-disc edition including a Batmask on DVD and BD; a two-disc Batpod statuette Limited BD Edition; a two-disc BD edition; and a four-disc Batman Begins/The Dark Knight pack on DVD and BD. As of December 19, 2008, the DVD release is the top selling film in the Australian DVD Charts[203] and is expected to break the Australian sales record set by Finding Nemo.[204][dead link]
The movie also sold Blu-ray copies worth 370 million yen (US$4.1 million) in Japan, placing it 3rd out of 10 in the top 10 overall Blu-ray category.[205][206]
In March 2011, Warner Bros. offered The Dark Knight for rent on Facebook, becoming the first movie ever to be released via digital distribution on a social networking site. Users in the United States are able to use Facebook Credits to view the film.[207]
See also

Portal icon Film in the United States portal
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Vigilante film
List of films featuring surveillance
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185.Jump up ^ Top Movies Opening Grosses After 3-Days in Release
186.Jump up ^ Fastest Movies to Hit $100 Million at the Box Office
187.Jump up ^ Top Grossing Movies in Their 2nd Weekend at the Box Office
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195.Jump up ^ Segers, Frank (July 20, 2008). "'Hancock' holds on overseas". The Hollywood Reporter (Nielsen Company). Archived from the original on August 3, 2008. Retrieved August 1, 2008.
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204.Jump up ^ Fenech, Stephen (December 11, 2008). "The Dark Knight tipped to break Finding Nemo's DVD sales record". The Daily Telegraph (UK). Retrieved December 20, 2008.
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207.Jump up ^ Helft, Miguel; Barnes, Brooks (March 8, 2011). "Warner Tests Renting Film on Facebook for Web Cash". The New York Times. Retrieved March 11, 2011.
Further reading
Byrne, Craig (2008). The Dark Knight: Featuring Production Art and Full Shooting Script (Hardcover). Universe. ISBN 0-7893-1812-1.
Nolan, Christopher; David S. Goyer (2007). "Introduction". Absolute Batman: The Long Halloween (Hardcover). New York: DC Comics. ISBN 1-4012-1282-4.
O'Neil, Dennis (2008). The Dark Knight (Paperback). Novelization of the film. Berkley. ISBN 0-425-22286-1.
External links
 Wikiquote has a collection of quotations related to: The Dark Knight (film)
Official website
The Dark Knight at the Internet Movie Database
The Dark Knight at the TCM Movie Database
The Dark Knight at allmovie
The Dark Knight at Box Office Mojo
The Dark Knight at Rotten Tomatoes
The Dark Knight on Myspace
The Dark Knight: Blu-ray Disc Review at HD Report


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The Dark Knight Rises
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The Dark Knight Rises
Dark knight rises poster.jpg
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Emma Thomas
Christopher Nolan
Charles Roven

Screenplay by
Jonathan Nolan
Christopher Nolan

Story by
Christopher Nolan
David S. Goyer

Based on
Batman
 by Bob Kane
Starring
Christian Bale
Michael Caine
Gary Oldman
Anne Hathaway
Tom Hardy
Marion Cotillard
Joseph Gordon-Levitt
Morgan Freeman

Music by
Hans Zimmer
Cinematography
Wally Pfister
Editing by
Lee Smith
Studio
Legendary Pictures
Syncopy Films
DC Comics

Distributed by
Warner Bros. Pictures
Release dates
July 16, 2012 (world premiere)
July 20, 2012 (United States)

Running time
165 minutes[1]
Country
United States
 United Kingdom[2]
Language
English
Budget
$250–300 million ($230 million after tax credits)[3]
Box office
$1,084,439,099[4]
The Dark Knight Rises is a 2012 British-American superhero film directed by Christopher Nolan, who co-wrote the screenplay with his brother Jonathan Nolan and the story with David S. Goyer. Featuring the DC Comics character Batman, the film is the final installment in Nolan's Batman film trilogy, and it is the sequel to Batman Begins (2005) and The Dark Knight (2008). Christian Bale reprises the lead role of Bruce Wayne/Batman, with a returning cast of his allies: Michael Caine as Alfred Pennyworth, Gary Oldman as James Gordon, and Morgan Freeman as Lucius Fox. The film introduces Selina Kyle (Anne Hathaway), a sly, morally ambiguous cat burglar, and Bane (Tom Hardy), a mercenary bent on destroying Gotham City. Drawn back into action by new threats facing the city, an older Bruce Wayne is forced to come out of retirement and become Batman once again.
Christopher Nolan was initially hesitant about returning to the series for a second time, but agreed to come back after developing a story with his brother and Goyer that he felt would conclude the series on a satisfactory note. Nolan drew inspiration from Bane's comic book debut in the 1993 "Knightfall" storyline, the 1986 series The Dark Knight Returns, and the 1999 storyline "No Man's Land". Filming took place in various locations, including Jodhpur,[5] London, Nottingham, Glasgow, Los Angeles, New York City, Newark, and Pittsburgh. Nolan used IMAX cameras for much of the filming, including the first six minutes of the film, to optimize the quality of the picture. A variation of the Batplane termed "The Bat", an underground prison set, and a new Batcave set were created specifically for the film. As with The Dark Knight, viral marketing campaigns began early during production to help promotion. When filming concluded, Warner Bros. refocused its campaign: developing promotional websites, releasing the first six minutes of the film, screening theatrical trailers, and sending out information regarding the film's plot.
The Dark Knight Rises premiered in New York City on July 16, 2012. The film was released in Australia and New Zealand on July 19, 2012, and in North America and the United Kingdom on July 20, 2012. Upon release it received a favorable critical response and grossed over $1.081 billion worldwide. It is currently the ninth-highest-grossing film of all time, the third-highest-grossing film of 2012, and the third-highest-grossing superhero film of all time.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Filming
3.3 Design 3.3.1 Costume design
3.3.2 Production design
3.4 Music
4 Marketing
5 Shooting in Aurora, Colorado
6 Release 6.1 Reception 6.1.1 Commentary
6.1.2 Accolades
6.1.3 Box office
6.2 Home media
7 References
8 External links

Plot
Eight years after Harvey Dent's death, the Dent Act grants the Gotham City Police Department powers which nearly eradicate organized crime. Feeling guilty for covering up Dent's crimes, Police Commissioner James Gordon writes a resignation speech confessing the truth, but decides not to use it. Batman has disappeared; Bruce Wayne has become a recluse. Cat burglar Selina Kyle obtains Bruce's fingerprints from his home, kidnaps a congressman, then disappears. Selina hands Bruce's fingerprints to Phillip Stryver, an assistant to Bruce's business rival John Daggett, in hope of having her criminal record erased. Stryver double-crosses Selina, but she uses the congressman's stolen phone to alert the police to their location. Gordon and the police arrive to find the congressman, then pursue Stryver's men into the sewers while Selina flees. A masked man called Bane captures Gordon. Gordon escapes and is found by John Blake, a once-orphaned patrol officer who has deduced Batman's true identity from their similar backgrounds. Gordon promotes Blake to detective, with Blake reporting directly to him.
Wayne Enterprises is unprofitable after Bruce discontinued his fusion reactor project when he learned that the core could be weaponized. Later, Bane attacks the Gotham Stock Exchange, using Bruce's fingerprints in a transaction that bankrupts Wayne. Alfred Pennyworth, concerned that Bruce has not moved on from being Batman, reveals to him that Rachel Dawes had intended to marry Dent before she died; Alfred then resigns in an attempt to dissuade Bruce. Fearing that Daggett, Bane's employer, would gain access to the reactor, Bruce asks Wayne Enterprises board member Miranda Tate to take over his company. After being promised the software to erase her criminal record, Selina agrees to take Batman to Bane, but instead leads him into Bane's trap. Bane reveals that he intends to fulfill Ra's al Ghul's mission to destroy Gotham with the League of Shadows remnant. He delivers a crippling blow to Batman's back, then takes him to a foreign, well-like prison where escape is virtually impossible. The inmates tell Bruce the story of Ra's al Ghul's child, born in the prison and cared for by a fellow prisoner before escaping—the only prisoner to have ever done so. Bruce assumes the child to be Bane.
Meanwhile, Bane lures Gotham police underground and collapses the exits. He kills Mayor Anthony Garcia and forces an abducted physicist, Dr. Leonid Pavel, to convert the reactor core into a nuclear bomb. Bane uses the bomb to hold the city hostage and isolate Gotham from the world. Using Gordon's stolen speech, Bane reveals the cover-up of Dent's crimes and releases the prisoners of Blackgate Penitentiary, initiating a revolution. The wealthy and powerful have their property expropriated, are dragged from their homes, and given show trials presided over by Dr. Jonathan Crane, where any sentence means likely death with exile forcing the defendants to walk across the frozen bay.
After months of recovery and re-training, Bruce escapes from the prison and enlists Selina, Blake, Tate, Gordon, and Lucius Fox to help stop the bomb's detonation. While the police and Bane's forces clash, Batman defeats Bane, but Tate intervenes and stabs Batman, revealing herself to be Talia al Ghul, Ra's al Ghul's daughter. Talia escaped the prison aided by her fellow prisoner and protector, Bane. She plans to complete her father's work by detonating the bomb and destroying Gotham, but Gordon blocks her signal, preventing remote detonation. Talia leaves to find the bomb while Bane prepares to kill Batman, but Selina kills Bane using the Batpod. Batman pursues Talia with The Bat, an aircraft developed by Fox, hoping to bring the bomb back to the reactor where it can be stabilized. Talia's truck crashes, but she remotely destroys the reactor before dying. With no way to stop the detonation, Batman uses The Bat to haul the bomb over the bay, where it detonates.
In the aftermath, Batman is presumed dead and is honored as a hero. With Bruce also presumed dead, Wayne Manor is left to the city to become an orphanage, and Wayne's remaining estate is left to Alfred. Fox discovers that Bruce had fixed The Bat's autopilot, and Gordon finds the Bat-Signal refurbished. While visiting Florence, Alfred witnesses Bruce and Selina together. Blake resigns from the police force and inherits the Batcave.
Cast
Christian Bale as Bruce Wayne / Batman:
A billionaire socialite dedicated to protecting Gotham City from the criminal underworld. Nolan has stated that, due to the eight-year gap between the events of The Dark Knight and those of The Dark Knight Rises, "he's an older Bruce Wayne; he's not in a great state."[6] Bale employed a mixed-martial-arts discipline called the Keysi Fighting Method, but due to Bruce's current state and Bane's style, the method had to be modified.[7] Bale has stated that The Dark Knight Rises will be the final film in which he plays Batman.[8] He describes the character's arc as finally confronting the pain of loss that he has deferred for years by fighting criminals balanced against the need to internalize that pain lest he give into his emotions and become the killer the city already believes him to be. Bale also acknowledged that Batman is not a flawless individual, stating that "he's not a healthy individual, this is somebody that is doing good, but he's right on the verge of doing bad. He's got that killer within him that he's desperately trying to not let off his leash. And that's what I always return to."[9] Bale clarifies that "He doesn't want to forget [his parents' deaths]. He wants to maintain that anger he felt at that injustice. But equally he wants to present this very vacuous, soulless persona to Gotham, so that hopefully no-one will suspect him but will just think he's a spoiled bastard."[10] Bale felt bittersweet about leaving the franchise, clarifying that it was like "saying goodbye to an old friend."[11]Michael Caine as Alfred Pennyworth:[12]
Bruce's trusted butler and confidant. Alfred has acted as a father figure to Bruce, and continues to aid Bruce on his missions as well as supplying him with useful advice. Alfred is unable to accept Bruce's desire to revive his Batman persona, even going so far as to resign from his position to impress the seriousness of Bruce's position upon him. Christopher Nolan emphasized the emotional bond between Alfred and Bruce, stressing its importance in the previous films and predicting that the relationship will be strained as it never has before.[7]Gary Oldman as James Gordon:[12]
Commissioner of the Gotham City Police Department, and one of the city's few honest police officers. Gary Oldman described the character's work in cleaning up Gotham City as having left him world-weary and slightly bored,[13] likening Gordon to a soldier who leaps at the chance to be on the front lines.[7] His life has taken a turn for the worse since The Dark Knight; his wife has left him and taken their children, and the mayor is planning to dismiss him from his job. Gordon feels guilty over his role in covering up Harvey Dent's crimes to the point where he is prepared to resign from his position as Commissioner over it, but refrains from doing so when he senses that Gotham is about to come under threat.Anne Hathaway as Selina Kyle:[14][15]
Selina Kyle is a cat burglar, grifter, and femme fatale who establishes a playful, teasing relationship with Bruce Wayne that "takes some of the somberness away from his character."[7] Kyle is pursuing a "clean slate", a computer program rumored to be able to erase a person's criminal history, when she crosses paths with both Bruce and Batman. Hathaway auditioned not knowing what role she was being considered for, admitting that she had one character in mind, but only learned that the role was Selina Kyle after talking with Christopher Nolan for an hour.[16] Hathaway described the role as being the most physically demanding she had ever played, and confessed that while she thought of herself as being fit she had to redouble her efforts in the gym to keep up with the demands of the role. Hathaway worked out five days a week for the role, including rigorous exercise and stunt training followed by an hour and a half of dance. She explained, "I've always thought that skinny was the goal, but with this job I also have to be strong."[17][18][19] Hathaway trained extensively in martial arts for the role, and looked to Hedy Lamarr—who was the inspiration for the Catwoman character—in developing her performance.[20]Tom Hardy as Bane:[14]
A militant revolutionary portraying himself as a "liberator", Bane is intent on destroying Gotham City. He was originally a member of the League of Shadows, before being excommunicated. The character was chosen by Christopher Nolan because of his desire to see Batman tested on both a physical and mental level.[6][21] According to costume designer Lindy Hemming, the character wears a mask that supplies him with an analgesic gas to relieve pain he suffers from an injury sustained "early in his story".[6] Bane has been described as "a terrorist in both thought and action"[6] and is "florid in his speech, [with] the physicality of a gorilla".[7] Hardy intended to portray the character as "more menacing" than Robert Swenson's version of the character in Joel Schumacher's Batman & Robin and that in order to do so, his portrayal entailed creating a contradiction between his voice and body. Hardy gained 30 pounds (14 kg) for the role,[22] increasing his weight to 198 pounds (90 kg).[22] Hardy based Bane's voice on several influences, which include Bartley Gorman as well as a desire to honor the character's intellect and Caribbean heritage.[23][24] Hardy describes Bane's fighting style as "Brutal. He's a big dude who's incredibly clinical, in the fact that he has a result-based and oriented fighting style. It's not about fighting. It's about carnage. The style is heavy-handed, heavy-footed, it's nasty. Anything from small-joint manipulation to crushing skulls, crushing rib cages, stamping on shins and knees and necks."[6] Bane proclaims that his revolution's enemies are the rich and the corrupt, who he contends are oppressing "the people", and fooling them with myths of opportunity. Political theorist and cultural critic Slavoj Žižek likens Bane to a modern day Che Guevara, counter-intuitively driven to violence out of a sense of love, while others have called him a "high-tech Robespierre on steroids," a melded triad of Lenin, bin Laden and Steve Austin set on fomenting "proletarian retribution," and "the one thing that's worse than the second film's raving anarchist: a demagogue."[25]Marion Cotillard as Talia al Ghul / Miranda Tate:
A member of the Wayne Enterprises executive board who encourages a still-grieving Bruce Wayne to rejoin with society and continue his father's philanthropic works.[26] Cotillard denied speculation that she would be playing a dual role as Miranda and Talia al Ghul, stating that her character is a completely original creation,[27] though the final cut of the film revealed this to be misdirection. Tate was described as providing Bruce with a much-needed sense of hope at the behest of Alfred and Lucius Fox.[7] Child actress Joey King portrays a young Talia in flashbacks.Joseph Gordon-Levitt as John Blake:
A young police officer whose instincts lead him to believe that there is trouble on the horizon. Seeing something of himself in Blake, Commissioner Gordon promotes him to detective.[26] Blake represents the idealism that Gordon and Bruce Wayne once held, but soon lost in their battle against crime in the city.[7] The film reveals his legal name to be Robin John Blake, a reference to Batman's sidekick in the comics, Robin.[28]Morgan Freeman as Lucius Fox:[12]
Fox runs Wayne Enterprises on behalf of Bruce Wayne and serves as his armorer, providing him with high-tech equipment. His position as President of Wayne Enterprises allows him to discreetly develop cutting-edge technology and weaponry, even as Wayne Enterprises starts losing money.
Cillian Murphy reprises his role as Dr. Jonathan Crane from the previous films.[29] Josh Pence and Liam Neeson both appear as Ra's al Ghul, leader of the League of Shadows; Pence plays a younger version of the character in scenes set thirty years before the events of Batman Begins,[30] while Neeson reprises his Batman Begins role in a cameo appearance. Neeson stated that he was unaware of his role or if he would actually be in the movie, due to its secrecy.[31][32][33] Other cast members include Nestor Carbonell reprising his role as Mayor Anthony Garcia;[34] Alon Abutbul as Dr. Leonid Pavel, a Russian nuclear physicist;[35][36] Juno Temple as Jen, friend and accomplice of Selina Kyle;[37] Matthew Modine as Deputy Commissioner Peter Foley;[38] Ben Mendelsohn as Bruce Wayne's business rival John Daggett with Burn Gorman playing his assistant Philip Stryver; Brett Cullen as a congressman;[39] Chris Ellis as a priest;[39] Aidan Gillen as the CIA agent;[40][41] Rob Brown as a GCPD officer;[42] Josh Stewart as Bane's right-hand man Barsad,[43] and Christopher Judge as a Bane henchman.[44] William Devane portrays the President of the United States. Tom Conti plays a prisoner. Desmond Harrington makes a cameo as another police officer in the film. Aaron Eckhart expressed enthusiasm in returning for a sequel if asked, although he later stated Nolan verified that his character, Harvey Dent, is dead,[45] and only archive footage of Eckhart from The Dark Knight appears in the film.[46]
Several members of the Pittsburgh Steelers make cameo appearances as members of the fictional Gotham Rogues football team in the film, including Ben Roethlisberger, Hines Ward, Troy Polamalu, Willie Colon, Maurkice Pouncey, Mike Wallace, Heath Miller, Aaron Smith, Ryan Clark, James Farrior, LaMarr Woodley, and Casey Hampton,[47][48] and former Steelers head coach Bill Cowher as the head coach of the Rogues.[49] Pittsburgh mayor Luke Ravenstahl, a kicker in college, appears as the kicker for the Rogues' opponents, the Rapid City Monuments.[50] In 2008, the Rooney family sold a minority stake in the team to Thomas Tull, the CEO and president of Legendary Pictures, which produced The Dark Knight Rises.[51] United States Senator Patrick Leahy, who also made a cameo appearance in The Dark Knight, returned for another cameo appearance in The Dark Knight Rises,[52] as a Wayne Enterprises board member. Thomas Lennon, who had a cameo as a doctor in Memento, once again has a cameo as a doctor. India Wadsworth plays the wife of Ra's al Ghul and the mother of Talia.[53]
Production
Development



"The key thing that makes the third film a great possibility for us is that we want to finish our story [...] rather than infinitely blowing up the balloon and expanding the story [...] Unlike the comics, these things don't go on forever in film and viewing it as a story with an end is useful. Viewing it as an ending, that sets you very much on the right track about the appropriate conclusion."
—Christopher Nolan, confirming his involvement in The Dark Knight Rises.[54]
Warner Bros. president of production Jeff Robinov had hoped a third film would be released in 2011 or 2012.[55] Nolan wanted the story for the third installment to keep him emotionally invested. "On a more superficial level, I have to ask the question," he reasoned, "how many good third movies in a franchise can people name?"[56] Nolan said that he never even thought a third film was possible in the foreword for his book The Art and Making of the Dark Knight Trilogy.[57] Nolan only agreed to a third film on the basis of finding a worthwhile story, fearing that he would become bored halfway through production if he discovered the film to be unnecessary.[58] By December 2008, Nolan completed a rough story outline, before he committed himself to Inception.[59] Later in December, Alan F. Horn confirmed that while discussions with Nolan about a third film were ongoing, no casting had been done, and Horn denied all such rumors.[60] Before Nolan confirmed his involvement, Gary Oldman had said he was confident Nolan would return.[61] Following the success of the Joker in The Dark Knight, studio executives wished for The Riddler to be included as the primary villain as he was considered a similar character and encouraged the casting of Leonardo DiCaprio.[62] However, Nolan wanted the antagonist to be vastly different than the previous incarnations and committed to using Bane instead,[62] citing the need for a character with a physical presence within the film.[63] He was initially unfamiliar with the character's back-story,[21] but pointed out the appeal of an archetype, labelling it as "the extreme of some type of villainy". When comparing the choice of Bane with the Joker, Nolan highlighted the Joker as an example of "diabolical, chaotic anarchy and has a devilish sense of humor", juxtaposing him against Bane, who he likened to "a classic movie monster [...] with a terrific brain."[63]
It was not until February 9, 2010, that it was announced that Nolan had "cracked" the story of a sequel to The Dark Knight and was committed to return to the project.[64] Shortly afterward, it was announced David S. Goyer and Jonathan Nolan were working on a screenplay.[65] Goyer would leave the project during pre-production to begin work on Man of Steel; Jonathan continued writing the script based on the story by his brother Chris and Goyer.[12] Chris Nolan said that his brother's original draft was about 400 pages.[66] The film's storyline has been compared with the Batman comic book series' story arc "Knightfall" (1993), which showcased Bane; the mini-series The Dark Knight Returns (1986), in which Batman returns to Gotham City after a ten-year absence; and the story arc "No Man's Land" (1999), which depicts a Gotham cut off from the rest of the world and overrun by gangs.[67][68] The nickname "the Dark Knight" was first applied to Batman in Batman No. 1 (1940), in a story written by Bill Finger.[69][70] Nolan confirmed the Joker would not return in the third film, and dismissed rumors that he considered using unused footage of Heath Ledger from The Dark Knight.[71] The Dark Knight Rises reunited Nolan with many of his past collaborators, including cinematographer Wally Pfister, production designer Nathan Crowley, editor Lee Smith, costume designer Lindy Hemming, special effects supervisors Paul Franklin and Chris Corbould, and composer Hans Zimmer.[72]
Filming



 A Tumbler on the set of The Dark Knight Rises in Pittsburgh
During location scouting in December 2010, Nolan began searching for locations such as India, Romania, and Michigan.[73][74][75] According to the Romania Insider, Nolan was interested in Bucharest's historical centers, Edgar Quinet Street, the Palace of the Parliament, and the Turda salt mine.[73] The film had an estimated budget of $250–300 million, coming down to about $230 million after tax credits.[3] Nolan elected not to film in 3-D, but instead stated that he intended to focus on improving image quality and scale using the IMAX format.[76] The Dark Knight Rises featured over an hour of footage shot in IMAX (by comparison, The Dark Knight contained 28 minutes).[77][78] Nolan had several meetings with IMAX Vice-President David Keighley to work on the logistics of projecting films in digital IMAX venues.[78] Wally Pfister had expressed interest in shooting the film entirely in IMAX,[79] but because of the considerable noise made by IMAX cameras, 35mm and 70mm cameras had to be used for shooting the film's dialogue scenes,[78][80] as dialogue had to be dubbed when shot with IMAX cameras.[81] Chairman and president of the IMAX Corporation Greg Foster stated that IMAX plans to run the film in its theatres for two months, despite only being contractually committed to run the film for two weeks.[82] Nolan also bypassed the use of a digital intermediate for the film, resulting in less manipulation of the filmed image and higher film resolution.[83]
Filming was scheduled to start in May and conclude in November 2011.[84] Principal photography commenced on May 6, 2011, in Jodhpur, India at the Mehrangarh Fort[85][86] before moving to Pittsburgh, where it operated under the working title Magnus Rex to reduce the visibility of the production.[87][88] Shooting locations within the city included Heinz Field, the site of an American football game,[89] with members of the Pittsburgh Steelers playing the Gotham Rogues football team. More than 11,000 extras were used to depict the shot sequence.[7][47][48] Filming in Pittsburgh also took place at the Mellon Institute and Software Engineering Institute at Carnegie Mellon University.[88] A letter sent out to residents and business owners detailing road closures revealed that the streets of the city would be featured "as the start of [the] film".[90] 9-1-1 operators were told to expect an increase in calls related to gun shots and explosions in the film's production.[91] The Pittsburgh leg of production wrapped after three weeks on August 21, 2011.[92] The next portion of the filming began in Los Angeles in late August and finished up on October 23 after nine weeks of filming. New York and New Jersey were the next places of filming. The Trump Tower replaced the Richard J. Daley Center as the location for the headquarters of Wayne Enterprises.[93] In November 2011, shooting shifted to Newark, New Jersey.[94][95] Newark City Hall and Military Park were among the locations used for filming.[96] Other shooting locations include London and Glasgow, the latter of which was used for "additional exterior filming".[97] Principal photography concluded on November 14, 2011.[98] The external waterfall scene at the end of the film was shot at Sgwd Henrhyd falls, on the edge of the Brecon Beacons National Park in Wales.
Production photos from filming in Pittsburgh showed a second Tumbler chassis after the first was destroyed, indicating that a new Batmobile would be in the film, following the destruction of the first in The Dark Knight.[99] Further set photos revealed a "new vehicle" being transported to Wabash Tunnel, prompting speculation as to its nature.[100] In June 2011, Autoblog confirmed the presence of the new Lamborghini Aventador on the film set.[101]



Wollaton Hall in Nottingham was used as Wayne Manor, Bruce Wayne's residence.
Several accidents occurred during the production of the film. While filming at Wollaton Hall, Nottingham, a tractor-trailer crashed into the main entrance, though no one was injured.[102] A stuntman parachutist later crashed through the roof of a home in Cairngorm Gliding Club, Feshiebridge in Scotland, and became wedged there after a failed landing during a skydiving stunt; he was not seriously injured.[103] While filming scenes in Pittsburgh, Hathaway's stunt double crashed into an IMAX camera while filming a sequence that required her to ride a Batpod down a flight of stairs during a riot. There were no injuries, but the camera was destroyed.[104] A second accident took place in Pittsburgh when the truck carrying the then-unidentified vehicle later termed "The Bat" went off-course and crashed into a lighting array, damaging the model of the aircraft. Production was delayed while the model was repaired.[105]
Shortly before Christmas of 2011, Christopher Nolan invited many of America's most prominent directors, including Edgar Wright, Michael Bay, Bryan Singer, Jon Favreau, Eli Roth, Duncan Jones and Stephen Daldry, to Universal CityWalk's IMAX theatre for a private screening of the first six minutes of The Dark Knight Rises, which had been shot on IMAX film and edited from the original camera negative. Nolan, feeling that the use of film stock in cinema is currently being phased out due to the introduction of digital cinematography and projection, used this screening to make a case for the continued use of film, which he asserts still offers superior image quality to any digital format, and warned the filmmakers that unless they continued to assert their choice to use film in their productions, they may eventually lose it as an option.[106][107] Nolan explained; "I wanted to give them a chance to see the potential, because I think IMAX is the best film format that was ever invented. It's the gold standard and what any other technology has to match up to, but none have, in my opinion. The message I wanted to put out there was that no one is taking anyone's digital cameras away. But if we want film to continue as an option, and someone is working on a big studio movie with the resources and the power to insist [on] film, they should say so. I felt as if I didn't say anything, and then we started to lose that option, it would be a shame. When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one."[106]
Design
Costume design



 A digitally mapped model of Tom Hardy's face and skull was used to design and construct Bane's mask.
Costume designer Lindy Hemming explained that Bane uses a mask to inhale an analgesic gas, which, in director Christopher Nolan's words, "keeps his pain just below the threshold so he can function." In designing Bane's costume, Hemming needed it to look "like an amalgam of all sorts of bits and pieces he cobbled together, as he passed through some very remote places. We made parts of his vest, for example, from fragments of an old military tent. His clothes are militaristic, but are not in any way a uniform." Hemming also designed Bane's mask to look "animalistic".[7][108][109] Costume effects supervisor Graham Churchyard created a three-dimensional model of actor Tom Hardy's face and skull to design the mask, allowing the mask to perfectly conform to the contours of Hardy's face.[7] Hemming personally designed Bane's coat, which she admitted took two years to complete. Taking inspiration from a Swedish army jacket and a frock coat from the French Revolution, it was designed to make Bane look like equal parts dictatorial and revolutionary.[7] The design was difficult as Hemming struggled to find a tailor in Los Angeles who could work with shearling.[110]
The Batsuit consisted of 110 separate pieces, each of which had to be replicated dozens of times over the course of the production. The base layer was made of a polyester mesh that is utilized by the military and high-tech sports manufacturers because of its breathability and moisture-wicking properties. Molded pieces of flexible urethane were then attached to the mesh, to form the overall body armor plating. Carbon fiber panels were placed inside the sections on the legs, chest and abdomen. The cowl was sculpted from a cast of Bale's face and head to become a perfect fit for Christian Bale. The suit remained unchanged for the film since The Dark Knight.[7]
In creating Selina Kyle's catsuit, two layers of material were used, with the outer layer being polyurethane coated spandex, embossed with a hexagonal pattern. The catsuit also consisted of elbow-length gloves, a utility belt, and thigh-high boots with spike heels.[7]
Production design
Concept artist Tully Summers commented on Nolan's style of cinematography when asked about the difference between his designs for this film and fantasy-based designs for Men in Black 3: "The difference for me was Christopher Nolan's visual style. One of the things that makes his Batman movies so compelling is their tone of plausibility. He will often prefer a raw, grittier design over one that is very sleek and product design pretty. It's sort of a practical military aesthetic. This stuff is made to work, not impress shoppers. The Dark Knight Rises is a war film."[111] Producer Emma Thomas stated this Batman film has a different visual aesthetic from the first two Nolan-directed features, explaining that "it's meant to be winter in Gotham, so that right there is going to lend a whole different look to the film."[112]
The film introduces a vehicle that has been compared with the Batplane, dubbed "the Bat". In designing the Bat, Nathan Crowley approached it as if it were an actual military project, emphasising the need for it to "fit into the same family" as the Tumbler and the Batpod. The final version of the Bat takes its design cues from the Harrier Jump Jet, Bell Boeing V-22 Osprey and the Boeing AH-64 Apache.[7] Chris Corbould described the Bat's size and shape as presenting a major challenge for filming given Christopher Nolan's emphasis on practical effects over computer-generated imagery. In order to make the Bat "fly", it was variously supported by wires, suspended from cranes and helicopters, and mounted on a purpose-built vehicle with hydraulic controls to simulate movement.[7][113][114]
When designing the Batcave set, Crowley and fellow production designer Kevin Kavanaugh hit upon the idea of flooding the Batcave and having Batman's equipment, the Batsuit and a supercomputer rise from the water.[7] Another set was designed at Cardington as an "underground prison", a rough-hewn labyrinth of stone cells in a vast abyss with a 120 foot (37 m) vertical shaft leading to the surface. Exteriors above the prison were filmed in Jodhpur, India, chosen because the "forbidding landscape added to the desolation".[7]
Music
Main article: The Dark Knight Rises (soundtrack)
In an interview in October 2010, composer Hans Zimmer confirmed that he would be returning to score The Dark Knight Rises. James Newton Howard was offered to return and write the score with Zimmer as he did for Batman Begins and The Dark Knight, but he chose not to because he noted that the chemistry established between Zimmer and Nolan during the making of Inception would make him seem like a "third wheel".[115] Zimmer included several cues from the earlier scores, but explains that he wanted to go in a "completely different direction" for Bane's theme. While the theme accompanying Selina Kyle is deliberately ambiguous, the musical thread spanning throughout the trilogy was composed exclusively for Bruce Wayne.[7]
The film features a prevalent Moroccan chant of the phrase deshi basara (proper transliteration: teeji basra) (Arabic: تيجي بسرعة), which translates to "rise up" (literally: "come quickly").[116][117] In November 2011, Zimmer crowdsourced online audio recordings of the chant to be used in the film's score.[118][119] When asked about the chant for clarification, Zimmer said, "The chant became a very complicated thing because I wanted hundreds of thousands of voices, and it's not so easy to get hundreds of thousands of voices. So, we Twittered and we posted on the internet, for people who wanted to be part of it. It seemed like an interesting thing. We've created this world, over these last two movies, and somehow I think the audience and the fans have been part of this world. We do keep them in mind."[120]
Marketing
The official website launched in May 2011 introducing a viral marketing campaign similar to the one used to promote The Dark Knight. The website streamed an encrypted audio file described by users as chanting. Users decrypted the audio to the Twitter hashtag, "#TheFireRises". Warner Bros. removed a pixel from the webpage for every tweet using the hashtag. The website revealed the first official image of Bane.[121]



TheDarkKnightRises.com was replaced with a dossier of an "anonymous vigilante", presenting information on the suspect—as well as several accusations, and depicting a warning claiming that the "suspect should be considered armed and dangerous".
In July 2011, a teaser trailer leaked online before its official release with Harry Potter and the Deathly Hallows – Part 2.[122] The studio released the teaser three days after the leak. The trailer received mixed responses; Stephen Spencer Davis of Slate wrote it successfully built hype,[122] while Kofi Outlaw of ScreenRant showed disappointment, claiming it was more of an "announcement trailer" than an actual teaser trailer. Outlaw criticized the quality, writing that a scene depicting Commissioner Gordon in a hospital bed was overly dramatic, had "hammy" dialogue, and was difficult to understand due to Gordon's labored breathing. Outlaw wrote that the sweeping shot of Gotham City had poor CGI and was too reminiscent of the Inception trailer.[123] The theatrical trailer leaked online, like the teaser trailer, before being released the following week attached to theatrical prints of Sherlock Holmes: A Game of Shadows.[124][125][126] Critics noted political undertones with dialogue foreshadowing the theme of income inequality and an "Occupy Gotham" campaign within the world of the story.[127][128][129] Receiving more than 12.5 million views in the first 24 hours after its release, the trailer set the record for most combined downloads from iTunes, beating the previous record held by The Avengers.[130] However, the second trailer for The Avengers again set the record with 13.7 million downloads.[131] Warner Bros. attached a second theatrical trailer for The Dark Knight Rises to theatrical prints of The Avengers. An "unnamed" Warner Brothers executive clarified that "We see this placement as a good strategic decision. We always want our trailers to be seen with films that people want to see—and a lot of people will be going to The Avengers!" The executive also commented that the trailer will "provide the best potential exposure for TDKR."[132] Warner Bros. released the trailer online on April 30, 2012, approximately four days before they attached it to theatrical prints of The Avengers.[133]
Continuing a method used with The Dark Knight whereby the opening sequence of the film was attached to IMAX prints of I Am Legend seven months before release,[134] a six-minute prologue of The Dark Knight Rises was attached to 70mm IMAX prints of Mission: Impossible – Ghost Protocol, again approximately seven months before release.[135] Critical reaction to the prologue was positive,[136][137][138] with one critic commenting that "no one gets to make a film on this kind of scale anymore. Except for Christopher Nolan," though a round-up of reviews highlighted the way many critics found Tom Hardy's dialogue very difficult to hear.[139] Addressing the issue in an interview with Entertainment Weekly, Nolan said "I think when people see the film, things will come into focus. Bane is very complex and very interesting and when people see the finished film people will be very entertained by him."[140]



 The bat-signal projected against the Fifth Avenue Place during filming in Pittsburgh.
Viral marketing campaigns for the film continued as magazine companies Empire and Wired received "CIA documents" concerning a "Dr. Leonid Pavel", with its mugshot connected to actor Alon Abutbul. According to the first document, Pavel is a missing Russian nuclear physicist, while the second document appears to be an edited transcript of a conversation discussing the handover of Dr. Pavel to the CIA by Georgian separatists, but with most of the conversation redacted.[36] These were later shown to be plot elements of the six-minute prologue.[136] The official Twitter account later linked to another censored document, this time, referencing "Operation Early Bird". A website of the same name was discovered, revealing a countdown timer. When the countdown finished, the site presented a map showing all available theaters that would be screening the film's prologue earlier than its release.[141][142] Various websites received a package that included a cylinder map of "strike zones", and a "fire rises" T-shirt.[143] In April 2012, the film's official website was updated with a "dossier" on a suspect named "John Doe" also known as "The Batman" for an arrest, with a list of several accusations. The premise of the campaign starts when the mayor of Gotham City "redoubles" the effort to capture Batman and anyone supporting his return in preparation for the upcoming "Harvey Dent Day". The site also includes an extensive list of real-world locations where "graffiti related to movement in support of the vigilante's return" is located. For each tweet of a specific location marked on the list, a frame of the second theatrical trailer for the film was released on a separate website.[144]
In January 2012, six months prior to the film's release, tickets for midnight IMAX showings in New York, San Francisco, and Los Angeles went on sale and sold out immediately. Purchased tickets surfaced for sale online for over $100, compared with their original price of $17.50.[145]



 Formula One team Lotus F1 carried a special livery to promote The Dark Knight Rises at the 2012 British Grand Prix.
At the American International Toy Fair, Mattel unveiled figures for Batman, Bane, and Catwoman, and Batman's flying vehicle, The Bat. The Mattel figures will also be released in the "Movie Masters" line, featuring more highly detailed and articulated presentation, and Quiktek versions that feature interchangeable accessories. Lego is set to release building sets and mini-figures based on the film and incorporating other DC Comic characters. Additionally, Funko is releasing a series of plush toys, Mezco Toyz are releasing vinyl figures, and Hornby are releasing the Batman Tumbler car.[146] Other partners include Jakks Pacific who are creating novelty and large-scale figures and plush toys,[147] and PPW Toys, who are creating a Batman themed Mr. Potato Head.[148] Various clothing items including shoes, t-shirts, hats and wallets are also being produced.[149]
A video game of the same name was released on the same day as the release of the film for the iOS and Android devices for promoting the movie. The game features open world with primary focus on stealth and combat. The combat system of the game is inspired from Arkham Asylum and Arkham City. It takes place in Gotham City, with a somewhat similar but still significantly different plot from that of the movie. IGN gave it a mediocre score of 5.5/10.[150]
The film novelization, written by author Greg Cox and published by Titan Books, was released alongside the film on July 24, 2012.[151]
Warner Bros. partnered with Mountain Dew to do a cross-promotion that included a special paint scheme on the No. 88 Chevrolet Impala owned by Hendrick Motorsports and driven by Dale Earnhardt, Jr. in the NASCAR Sprint Cup Series.[152] On June 17, 2012, the car won the 2012 Quicken Loans 400 at Michigan International Speedway.[153] On July 4, 2012, the studio signed a deal with Formula One team Lotus F1 to have the film's logos appear on the Lotus E20s driven by Kimi Räikkönen and Romain Grosjean at the 2012 British Grand Prix.[154] Räikkönen and Grosjean went on to finish the race in fifth and sixth place respectively.[155] Warner Bros. had previously followed a similar promotion at the 2008 British Grand Prix, when the now-defunct Toyota F1 carried a livery to promote The Dark Knight.[156]
Two digital comic books entitled Batman Origins[157] and The Dark Knight: Prologue[158] were released exclusively for Nokia Lumia devices. A special movie application has also been released, featuring trailers, wallpapers, movie schedules and Batman trivias.[159] Limited editions of the Lumia 710, Lumia 800 and Lumia 900 were also released featuring a laser-etched Batman logo.[160][161][162]
Shooting in Aurora, Colorado
Main article: 2012 Aurora shooting



"I would not presume to know anything about the victims of the shooting but that they were there last night to watch a movie. I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime. The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me. Nothing any of us can say could ever adequately express our feelings for the innocent victims of this appalling crime, but our thoughts are with them and their families."
—Director Christopher Nolan's reaction to the theatre shooting in Aurora, Colorado.[163]
On July 20, 2012, during a midnight showing of the film at the Century 16 cinema in Aurora, Colorado, a gunman wearing a gas mask opened fire inside the theater,[164] killing 12 people and injuring 58 others.[165][166] Police responding to the shooting apprehended a suspect, later identified as 24-year-old James Eagan Holmes,[167] shortly after arriving on the scene.[168] At the time of his arrest, Holmes allegedly identified himself as the Joker to police.[169][170]
Warner Bros. stated that it was deeply saddened by the shooting, and announced the cancellation of the Paris, Mexico, and Japan premieres of The Dark Knight Rises,[171][172] and suspended the marketing campaign for the film in Finland.[173] Several broadcast networks also suspended television ads for the film in the United States because of the tragedy.[174] The trailer for Gangster Squad, another Warner Bros. movie which was included in the screening of The Dark Knight Rises, has been removed as it contains a scene which shows gangsters shooting submachine guns at moviegoers through the screen, similar to the shooting in Aurora.[175] Director Christopher Nolan released a public statement calling the shooting "unbearably savage".[163] Other stars of the film released statements expressing their condolences, with star Christian Bale paying a personal visit to the survivors and the memorial in Aurora.[176]
Release
On July 6, 2012, Warner Bros. held a special IMAX screening of The Dark Knight Rises for more than one hundred reporters and critics. However, technical issues with the computer device synchronising the sound and picture forced the studio to postpone the screening by a day.[177] The film later premiered on July 16 at the AMC Lincoln Square Theater in New York City, New York,[178] followed by a European premiere on July 18 at Leicester Square in London, England.[179] The film was released in Australia and New Zealand on July 19,[180] and was later released in North America and the United Kingdom on July 20.[181][182]
Reception
The Dark Knight Rises received mostly positive reviews from critics; Rotten Tomatoes sampled 304 reviewers and judged 88% of the reviews to be positive.[183] Metacritic, another review aggregator, assigned the film a weighted average score of 78 (out of 100) based on 45 reviews from mainstream critics, considered to be "generally favorable reviews".[184] CinemaScore reported that audiences gave the film an A grade.[185]
The Telegraph granted the film a maximum score of five stars, stating that it is "a superhero film without a superhero," comparing it with The Godfather Part II and praising Hardy's performance as well as the film's intricate plot and narrative.[186] Kenneth Turan of the Los Angeles Times thought the film was "potent, persuasive and hypnotic" and that it was "more than an exceptional superhero movie, it is masterful filmmaking by any standard."[187] The Playlists Todd Gilchrist wrote " A cinematic, cultural and personal triumph, The Dark Knight Rises is emotionally inspiring, aesthetically significant and critically important for America itself – as a mirror of both sober reflection and resilient hope."[188] IGN gave it a 9 out of 10, noting similarities in tone and theme to Batman Begins over the trilogy's second installment The Dark Knight, but also describing Bane as "that bit less interesting to watch" than Ledger's Joker, despite praising his "menacing voice" and "body language-driven performance".[189] The Guardian scored the film four out of five stars, calling it a film of "granite, monolithic intensity", yet also calling it a "hammy, portentous affair".[190] Andrew O'Hehir of Salon writes "if The Dark Knight Rises is a fascist film, it's a great fascist film, and arguably the biggest, darkest, most thrilling and disturbing and utterly balls-out spectacle ever created for the screen".[191] Roger Ebert of the Chicago Sun-Times gave the film three out of four stars, stating "the film begins slowly with a murky plot and too many new characters, but builds to a sensational climax."[192] Film critic Richard Roeper gave the film an "A", calling it "a majestic, gorgeous, brutal and richly satisfying epic", and citing the final scenes of the picture as "the best five minutes of any film this year."[193] The London Film Review gave the film a B and said "Nolan's film is a reminder that superheroes aren't merely a frivolous distraction, but an embodiment of our best selves."[194] The film was crowned by Forbes as the best modern comic book superhero adaption on screen, outranking both its main summer blockbuster competitor, Marvel's The Avengers, and the trilogy's previous installment The Dark Knight.[195]
The Daily Mail's Chris Tookey said that the film was bloated and overly long, and criticized the sombre tone and lack of humor, despite praising the film's visually-impressive set pieces.[196] CNN's Tom Charity called this a "disappointingly clunky and bombastic conclusion to a superior series" and even went so far as to call it Nolan's worst film.[197] Anthony Lane of The New Yorker says that the "story is dense, overlong, and studded with references that will make sense only to those intimate with Nolan's previous excursions into Batmanhood".[198]
In reaction to fan backlash to some of the negative reviews, Rotten Tomatoes chose to disable user commentary for the film leading up to its release.[199] Some fans had threatened violence against critics while others threatened to take down the websites of movie critics who had given the film a negative review.[200]
Commentary
Writing in Salon, David Sirota, a progressive[201] political commentator compared The Dark Knight Rises and the game Call of Duty to 1980s popular culture reflecting the political period of the time, accusing them of perpetuating a conservative agenda: "Just as so many 1980s pop culture products reflected the spirit of the Reagan Revolution's conservative backlash, we are now seeing two blockbuster, genre-shaping products not-so-subtly reflect the Tea Party's rhetorical backlash to the powerful Occupy Wall Street zeitgeist."[202] An article in Variety reported Chuck Dixon, the co-creator of the Bane character, as saying that Bane is "far more akin to an Occupy Wall Street type if you're looking to cast him politically."[203] Catherine Shoard of the center-left[204] British publication The Guardian claimed the film "is a quite audaciously capitalist vision, radically conservative, radically vigilante, that advances a serious, stirring proposal that the wish-fulfilment of the wealthy is to be championed if they say they want to do good."[205] In contrast, liberal commentator Jonathan Chait opined in New York that "What passes for a right-wing movie these days is The Dark Knight Rises, which submits the rather modest premise that, irritating though the rich may be, actually killing them and taking all their stuff might be excessive."[206] Writing in USA Today, Bryan Alexander called Bane "the ultimate occupier" and reported that Christian Bale was amazed that the script had "foreseen" the Occupy movement.[207]
Nolan has denied the film criticizes the Occupy movement and insists that none of his Batman films are intended to be political: "I've had as many conversations with people who have seen the film the other way round. We throw a lot of things against the wall to see if it sticks. We put a lot of interesting questions in the air, but that's simply a backdrop for the story. What we're really trying to do is show the cracks of society, show the conflicts that somebody would try to wedge open. We're going to get wildly different interpretations of what the film is supporting and not supporting, but it's not doing any of those things. It's just telling a story. If you're saying, 'Have you made a film that's supposed to be criticizing the Occupy Wall Street movement?' – well, obviously, that's not true."[208]
Alternatively, politically-conservative commentator Rush Limbaugh alleged that the film was biased against 2012 Republican presidential nominee Mitt Romney due to Bane's name being a homophone for Bain Capital, the financial service company Romney used to head, despite the fact that the character has existed as a major Batman foe since 1993.[209][210] In response, Nolan said that the comments were "bizarre",[211] while Dixon and Freeman said that the comments were "ridiculous".[210][212] Similarly, comparisons between Bane and Bain have also been made by bloggers on both sides of the political spectrum,[210] with Democratic adviser Christopher Lehane noting the similarities between the narratives of the film and the presidential campaign.[210][213]
Accolades
List of awards and nominations

Award
Category
Recipients and nominees
Result
AFI Awards 2012 Movies of the Year Emma Thomas, Christopher Nolan and Charles Roven Won
British Academy of Film and Television Arts[214] Special Visual Effects Paul Franklin, Chris Corbould, Peter Bebb, Andrew Lockley Nominated
Broadcast Film Critics Association[215] Best Visual Effects
Nominated
Best Action Film
Nominated
Best Actor in an Action Movie Christian Bale Nominated
Best Actress in an Action Movie Anne Hathaway Nominated
Golden Trailer Awards[216] Best in Show "Chant" Won
Summer 2012 Blockbuster Trailer "Chant" Won
Best International Poster "UK Quad" Won
Best Summer 2012 Blockbuster Poster "Teaser One Sheet – City" Won
Best Teaser Poster "Teaser One Sheet City" Nominated
Grammy Awards[217] Best Score Soundtrack For Visual Media
Nominated
Kids Choice Awards[218] Favorite Female Buttkicker Anne Hathaway Nominated
Los Angeles Film Critics Association[219] Best Supporting Actress Anne Hathaway (Also for Les Misérables) Runner-up
MTV Movie Awards[220] Best Movie
Nominated
Best Hero Christian Bale Nominated
Best Hero Anne Hathaway Nominated
Best Villain Marion Cotillard Nominated
Best Villain Tom Hardy Nominated
Best Fight Christian Bale & Tom Hardy Nominated
Best Shirtless Performance Christian Bale Nominated
People's Choice Awards[221] Favorite Face of Heroism Anne Hathaway Nominated
Favorite Movie
Nominated
Favorite Action Movie
Nominated
Favorite Movie Franchise
Nominated
Phoenix Film Critics Society[222] Best Film Editing  Nominated
Satellite Awards[223] Best Visual Effects Chris Corbould, Paul Franklin Nominated
Best Art Direction & Production Design Nathan Crowley, Kevin Kavanaugh, James Hambidge, Naaman Marshall Nominated
Saturn Awards[224][225][226] Best Action of Adventure Film
Nominated
Best Director Christopher Nolan Nominated
Best Actor Christian Bale Nominated
Best Supporting Actor Joseph Gordon-Levitt Nominated
Best Supporting Actress Anne Hathaway Won
Best Music Hans Zimmer Nominated
Screen Actors Guild Awards[227] Outstanding Performance by a Stunt Ensemble in a Motion Picture
Nominated
St. Louis Gateway Film Critics Association[228][229] Best Music
Nominated
Teen Choice Awards[230][231][232] Choice Movie: Action
Nominated
Choice Movie: Actor Action Christian Bale Nominated
Choice Movie: Actress Action Anne Hathaway Won
Choice Movie: Scene Stealer Joseph Gordon-Levitt Nominated
Choice Movie: Best Villain Tom Hardy Nominated
Young Artist Award[233] Best Performance in a Feature Film - Supporting Young Actress Joey King Nominated
Box office
Hours before the midnight release, several box office analysts suggested as much as a $198 million domestic opening weekend.[234][235][236] However, in the wake of the mass shooting during a midnight screening of the film, Warner Bros. decided to not report further box office figures for the movie until Monday, July 23, 2012.[237][238] As a result, other distributors also delayed the release of their official estimates as well.[239] The shooting is also speculated to have hurt the ticket sales as E! Online reported that a North Carolina audience member had stated that "this theater was kinda empty".[240] Some reports released on July 21, 2012 said that rival studios estimated that the film grossed $75 million to $77 million on its opening day.[241][242][243] Warner Brothers shortly after released a statement to ABC News stating that they delayed the release of their estimates for the opening day total of the film "out of respect for the victims and their families," and added "Warner Bros. Pictures will not be reporting box office numbers for The Dark Knight Rises throughout the weekend. Box office numbers will be released on Monday."[244]
Worldwide
The Dark Knight Rises earned $448,139,099 in North America, and $636,300,000 in other countries, summing up to a worldwide total of $1,084,439,099.[4] Worldwide, it is the ninth-highest-grossing film of all time[245] and the third-highest-grossing film of 2012.[246] It had a worldwide opening weekend of $248.9 million.[247] The film set a worldwide IMAX opening-weekend record with $23.8 million (previously held by Harry Potter and the Deathly Hallows – Part 2)[248] and also broke the record for the fastest movie to make over $50 million in IMAX theatres. IMAX CEO Richard L. Gelfond explained this by claiming, "Audiences are clearly seeking out and embracing the film the way it was meant to be seen – in IMAX."[249] On the 2012 Labor Day weekend, it became the third film distributed by Warner Bros. and the thirteenth film in cinematic history to cross the $1 billion mark.[250] The film also became the second movie (after Avatar) to reach $100 million in worldwide IMAX grosses.[251]
North America
The Dark Knight Rises opened on Friday, July 20, 2012. It earned an estimated $30.6 million in midnight showings, which is the second-highest midnight gross behind Harry Potter and the Deathly Hallows – Part 2 ($43.5 million).[252][253] It did, however, set an IMAX midnight-gross record with $2.3 million (previously held by Deathly Hallows – Part 2).[254][255] The film made $75.8 million during its opening day, which is the third-highest single and opening day tally of all time.[256] On July 23, 2012, it was announced that the film grossed $160.9 million for its debut weekend, which was the third-highest opening weekend ever, at the time, behind Marvel's The Avengers ($207.4 million) and Deathly Hallows – Part 2 ($169.2 million).[257] However, it did set an opening-weekend record for a 2D film (previously held by The Dark Knight)[258] and an IMAX opening-weekend record with $19.0 million (previously held by Marvel's The Avengers).[259] The film also held the top spot at the box office for its second and third weekends.[260][261] In North America, it is the seventh-highest-grossing film,[262] the second-highest-grossing 2012 film,[263] and the third-highest-grossing superhero film,[264] and film based on comics.[265]
Markets outside North America
Outside North America, the film opened with $88.0 million from 7,173 theaters in just 17 markets.[266] It was in first place at the box office outside North America for four consecutive weekends.[267][268] Its three largest markets are the UK, Ireland and Malta ($90.3 million), where it is the highest-grossing superhero film,[269] China ($52.8 million) and Australia ($44.2 million).[270]
Home media
The Dark Knight Rises was released on November 28, 2012 in Hong Kong and New Zealand. On December 3, it was released in the UK, and on December 4, it was released in the United States. It is available on Blu-ray, DVD, and as a Digital download.[271] Coinciding with the release of this film, a box set of The Dark Knight trilogy was released.[272]
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Batman: The Animated Series
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 It has been suggested that this article be merged with The New Batman Adventures. (Discuss) Proposed since January 2014.

Batman: The Animated Series
Batman the Animated Series logo.jpg
Also known as
The Adventures of Batman & Robin (1994–1995)
Genre
Superhero
Action/Adventure
Mystery
Suspense
Drama
Format
Animated series
Created by
Characters:
Bob Kane
Bill Finger

Developed by
Bruce Timm
Eric Radomski

Written by
Paul Dini
Michael Reaves
Randy Rogel
Steve Perry
Brynne Stephens
Sean Catherine Derek
Alan Burnett
Laren Bright
Voices of
Kevin Conroy[1]
Efrem Zimbalist, Jr.
Bob Hastings
Robert Costanzo
Loren Lester
Mark Hamill
Arleen Sorkin
Theme music composer
Danny Elfman
Composer(s)
Shirley Walker
Harvey Cohen
Lolita Ritmanis
 Michael McCuistion
 Stuart Balcomb
 Richard Bronskill
 Carl Johnson
Kristopher Carter
 Carlos Rodriguez
 Wayne Coster
Country of origin
United States
No. of seasons
2 (by production order)
 4 (by original airdates)
No. of episodes
85 (List of episodes)
Production

Executive producer(s)
Jean MacCurdy
Tom Ruegger
Producer(s)
Alan Burnett
Paul Dini
Eric Radomski
Bruce Timm
Running time
22 minutes
Broadcast

Original channel
Fox (Fox Kids)
Original run
September 5, 1992 – September 15, 1995[2]
Chronology

Followed by
Superman: The Animated Series
The New Batman Adventures
External links
Website
Batman: The Animated Series is an American animated television series based on the DC Comics superhero Batman. The series was produced by Warner Bros. Animation and originally aired on the Fox Network from September 5, 1992 to September 15, 1995.[2][3] The visual style of the series, dubbed "Dark Deco," was based on the film noir artwork of producer and artist Bruce Timm.[4] The series was widely praised for its thematic complexity, dark tone, artistic quality, and faithfulness to its title character's crime-fighting origins.[5][6] The series also won four Emmy Awards, including Outstanding Animated Program.[7][8]
When the first season of the series aired on weekday afternoons, it lacked an on-screen title in the opening theme sequence (for episode recaps shown at the beginning of the second half of two-part episodes, the narrator would simply say "Previously on Batman...").[9] When the series' timeslot was moved to weekends during its second season, it was given the on-screen title The Adventures of Batman & Robin.[10] The series was the first in the continuity of the shared DC animated universe, and spawned the theatrical film Batman: Mask of the Phantasm (1993). In 2013, TV Guide ranked Batman the Animated Series the seventh Greatest TV Cartoon of All Time.[11]





Contents  [hide]
1 Overview
2 Episodes 2.1 Animation
2.2 Adaptations
3 Feature films
4 Comic adaption and novelization
5 Characters 5.1 Bruce Wayne
5.2 Dick Grayson
6 Cast 6.1 Protagonists
6.2 Supporting protagonists
6.3 Antagonists
6.4 Supporting antagonists
7 Broadcasting
8 Critical reception 8.1 Influence
8.2 Accolades
9 Music  9.1 Track listing
10 Home media releases 10.1 VHS 10.1.1 United Kingdom
10.1.2 United States
10.1.3 Chinese Subtitled
10.1.4 Spanish Subtitled
10.2 DVD
11 Video games
12 See also
13 References 13.1 Notes
13.2 Bibliography
14 External links

Overview[edit]
The series took influence from Tim Burton's live-action films Batman (1989) and Batman Returns (1992), and the acclaimed Superman theatrical cartoons produced by Fleischer Studios in the early 1940s.[12] In designing the series, Bruce Timm and Eric Radomski emulated Burton's films' "otherworldly timelessness", incorporating period features such as black-and-white title cards, police blimps (though no such thing existed, Timm has stated that he found it to fit the show's style) and a "vintage" color scheme with film noir flourishes.[13] In addition, Radomski issued a standing order to the animation department that all backgrounds be painted using light colors on black paper (as opposed to the industry standard of dark colors on white paper).[13] The distinctive visual combination of "noir" imagery and Art Deco design was dubbed "Dark Deco" by the producers.[14]
The series initially took a variation of music written by Danny Elfman for the Burton films as its theme; later episodes of the series used a new theme with a similar style by Shirley Walker (Walker was occasionally Elfman's conductor for films on which they collaborated). The score of the series was influenced by Elfman and Walker's work on the Burton films, as well as music of 1940s film noir.
The series was more adult-oriented than previous superhero cartoons. It was the first such cartoon in years to depict outright physical violence against antagonists (though only one character was depicted as having been shot — Commissioner Gordon, in the episode "I Am the Night", is shown lying unconscious due to a gunshot wound he received offscreen) and one of the first animated shows in years to depict realistic firearms. First-time producers Timm and Radomski reportedly encountered resistance from studio executives, but the success of Burton's first film allowed the embryonic series to survive long enough to produce a pilot episode, "On Leather Wings", which, according to Timm, "got a lot of people off our backs".[13]
The series was also notable for its supporting cast — a number of well-known actors provided voices for various classic villains, most notably Mark Hamill (previously famous for his role as Luke Skywalker in the original Star Wars trilogy), who later found success in voice acting thanks to his "cheerfully deranged" portrayal of the Joker.[15] The recording sessions (under the supervision of voice director Andrea Romano) were recorded with the actors together in one studio (as opposed to industry standard of voice actors recording dialogue separately). This method would later be employed for all subsequent series in the DC animated universe.
One of the series' best-known innovations was the Joker's assistant, Harley Quinn, who became so popular that DC Comics later added her to mainstream Batman comic book continuity. The Penguin underwent change for the series; his appearance was remodeled after the version seen in Batman Returns (though still incorporating classic elements of the character), which was in production simultaneously with the series' first season. New life was also given to lesser-known characters for the series such as the Clock King. In addition, dramatic changes were made to villains such as Clayface and Mr. Freeze — the latter character, for example, was changed from a gimmicky mad scientist to a tragic figure whose "frigid exterior [hid] a doomed love and vindictive fury".
Episodes[edit]
Main article: List of Batman: The Animated Series episodes
Sixteen minutes of animated segments in the video game The Adventures of Batman & Robin for the Sega CD are sometimes referred to as a "lost episode" of the series.[16] These segments are intended to be interspersed between gameplay elements of an early-1990s video game.
Animation[edit]
In order to complete the first season's 65 episodes, Warner Bros. contracted several different overseas animation houses. These studios included Spectrum Animation, Dong Yang Animation, Sunrise, Studio Junio, Blue Pencil, AKOM and TMS Entertainment.[17] TMS also animated the first season's opening theme sequence. AKOM was eventually fired due to its inconsistent animation in episodes such as "Cat Scratch Fever" and "Moon of the Wolf."
The 20 episodes of the second season were animated largely by Dong Yang, with the exception of three done by Studio Junio ("A Bullet for Bullock", "Avatar" and "Baby-Doll") and one done by Jade Animation ("The Terrible Trio").[17]
Adaptations[edit]
The show also featured numerous adaptations of various Batman comics stories over the years to when the show was produced. The following episodes were adaptations:
"The Cape and Cowl Conspiracy" was an adaptation of "The Cape and Cowl Death Trap!" from Detective Comics #450 August 1975, written by Elliot S. Maggin.
"The Strange Secret of Bruce Wayne" was based on the comic stories "The Dead Yet Live" and "I Am the Batman!" from Detective Comics #471 and #472, of August/September 1977 by Steve Englehart.
"Moon of the Wolf" is based on the comic story of the same name by writer Len Wein with art by Neal Adams, from Batman #255, April 1974.
"If You're So Smart, Why Aren't You Rich?" is a loose adaptation of "The Riddler!" from Detective Comics #140, October 1948.
"Off Balance" is a direct adaptation of "Batman: Into the Den of the Death-Dealers" of Detective Comics #411, May 1971 by Dennis O'Neil famous for the first appearance of the character Talia al Ghul.
Also a direct adaptation is the two-part episode "The Demon's Quest", based on "Daughter of the Demon" from Batman #232, June 1971, and "The Demon Lives Again" Batman #244, September 1972, also by Dennis O'Neil and Neal Adams. Famous for introducing one of Batman's deadlier foes; Ra's al Ghul, father of Talia.
The episode "The Laughing Fish" was based on three Batman comics, blended together; "The Joker's Five-Way Revenge" from Batman #251 September 1973 by Dennis O'Neil with art by Neal Adams, followed by "The Laughing Fish" and "Sign of the Joker!" from Detective Comics #475 and #476, of February/March 1978, both by writer Steve Englehart with art by Marshall Rogers. During a spotlight podcast from Comic-Con 2007, Paul Dini explained that the reason why the episode combined those stories was because the show's creators could not adapt them separately, because their content and thematic elements would not have been cleared by the censors.
Part 1 of "Robin's Reckoning" takes its cues from Detective Comics #38 June 1940.
The episode "Terror in the Skies" is loosely based on "Man-Bat Over Vegas", originally presented in Detective Comics #429, by Frank Robbins. The setting has been shifted from Las Vegas to Gotham Harbor, and in keeping with the family-friendly rating of the television show, She-Bat is not a vampire in the adaptation. The final line of the episode, "the nightmare's finally over", is similar to one of the final lines from the original comic, "Now Fran's vampire nightmare is about over".
"A Bullet for Bullock" is based on the comic of the same name from Detective Comics #651, October 1992, by Chuck Dixon.
The feature film Mask of the Phantasm is also an adaptation. The film's flashbacks were inspired by "Batman: Year One", whereas the character of Andrea Beaumont and the storyline itself were modified from Mike Barr's story "Batman: Year Two", which ran in Detective Comics #575-578 in the late 1980s; the villain in the comics was named The Reaper.[18]
The episode "Almost Got 'Im" where Two-Face's strategy (strapping down Batman to a giant coin and flipping the coin in the air) was taken from the comic; World's Finest Comics #30, September 1947. In a back up tale both Batman and Robin were tied to a giant penny that was catapulted onto spikes by a lesser known villain the Penny Plunderer.
The episode "Appointment in Crime Alley" is based on "There Is No Hope in Crime Alley" from Detective Comics #457 (March 1976) by Dennis O'Neil and Dick Giordano.
The episode "Sideshow" is loosely based on "A Vow From the Grave" by Dennis O'Neil. This episode adapted the comic book story with the inclusion of a separate Killer Croc story.
The episode "Dreams in Darkness" is loosely based on "Batman: The Last Arkham" of Batman: Shadow of the Bat #1-4 by Alan Grant. This episode adapted the comic book story with the inclusion of the Scarecrow instead of Victor Zsasz and Dr. Bartholomew instead of Jeremiah Arkham.
Feature films[edit]
Batman: Mask of the Phantasm (1993) – based on The Animated Series, the film started production as a direct-to-video release, but was ultimately changed into a theatrical release.[19] Although the film was not a financial success upon its initial release, it earned widespread acclaim and has since become a commercial success through its various home video releases.[20]
Batman & Mr. Freeze: SubZero (1998) – a direct-to-video release, which was produced as a tie-in to the 1997 film Batman & Robin, but due to the poor reception of the live-action movie, SubZero's release was delayed until the following year.[21]
Comic adaption and novelization[edit]
Main article: Batman Adventures
The Animated Series was accompanied by a tie-in comic book, The Batman Adventures, which followed the art style and continuity of The Animated Series instead of other Batman comic books. The Batman Adventures, through several format changes to reflect the changing world of the series and its spin-offs, outlasted the series itself by nearly a decade, finally being cancelled in 2004 to make way for the tie-in comic of the then-new, unrelated Batman animated series, The Batman.
There was also a short-lived series of tie-in novels, adapted from episodes of the series by science fiction author Geary Gravel. To achieve novel-length, Gravel combined several related episodes into a single storyline in each novel. The novels included:
Shadows of the Past ("Appointment in Crime Alley", "Robin's Reckoning" two-parter)
Dual to the Death ("Two-Face" two-parter, "Shadow of the Bat" two-parter)
The Dragon and the Bat ("Night of the Ninja", "Day of the Samurai")
Mask of the Phantasm (Batman: Mask of the Phantasm movie)
Characters[edit]



 From left to right: Mr. Freeze, Poison Ivy, the Penguin, the Joker, Harley Quinn, the Mad Hatter, the Riddler, Catwoman (and Isis) and Two-Face.
New villains such as Red Claw, Baby-Doll, Kyodai Ken, Tygrus and the Sewer King were invented for the series, but to little acclaim. On the other hand, the Joker's accomplice Harley Quinn, Gotham City police detective Renee Montoya and the vigilante Lock-Up achieved such popularity that they became characters in the comics. Older villains that were lesser known from the comics, such as Count Vertigo, the Mirror Man and the Clock King, were modified for the series in both appearance and personality. The series was also the first to suggest that Harvey Dent had a pre-existing dual personality before becoming Two-Face. This idea came from Alan Burnett, one of the series' producers and head writers.[22]
Aside from creating characters that crossed over into the main line of DC Comics, several of the series' reinterpretations were carried over as well. Mr. Freeze was revised in the comics to emulate the series' tragic story, the success of which actually compelled DC to bring the character back after "killing" him off some years earlier; Clayface was revised to be much more similar in appearance to his animated counterpart; and Two-Face's double-sided, black-and-white suit has become a common appearance for the character.
Bruce Wayne[edit]
One of the most noteworthy changes made in The Animated Series was the treatment of Batman's alter ego, Bruce Wayne. In nearly all other media, including the comics, television shows and films, Bruce deliberately plays up his image as a vacuous, self-absorbed and not-too-bright billionaire playboy.[23] In The Animated Series, his character is instead treated more seriously; he is assertive, extremely intelligent, and actively involved in the management of Wayne Enterprises, without jeopardizing his secret identity. For example: in the episode "Eternal Youth", Bruce is shown angrily ordering one of his directors to cancel a secret deal with a timber company in the Amazon rainforest. In addition, during the episode "Night of the Ninja", he revealed to reporter Summer Gleeson that he has some martial arts training, as the reporter previously researched that he once lived in Japan, though he later throws a fight with the ninja Kyodai Ken in front of Gleeson to disguise his prowess.
Kevin Conroy is notable for being the first person in animation to use two distinct voices to portray Bruce Wayne and Batman, which was his own idea.[24]
Dick Grayson[edit]
Another noteworthy change in the series was the redefining of the original Robin, Dick Grayson. While much of Dick's past remained the same, his Robin costume was updated to a more modern look of the 1990s (with short sleeves and long tights), exactly like Tim Drake's original Robin outfit, but with a non-italicized "R" symbol. In addition, Dick was given a more serious personality to match the tone of the series. The episode "Batgirl Returns" establishes that Dick and Barbara Gordon attend the same college and that they have a mutual romantic attraction to each other, but neither one knows that the other is secretly Robin and/or Batgirl, respectively. Their relationship is one of the plot elements of the film Batman & Mr. Freeze: SubZero.
Cast[edit]
Protagonists[edit]

Voice Actor
Role
Kevin Conroy Bruce Wayne / Batman
Loren Lester Dick Grayson / Robin
Clive Revill Alfred Pennyworth (first three episodes in production order)
Efrem Zimbalist, Jr. Alfred Pennyworth (rest of the series)
Bob Hastings Commissioner James Gordon
Robert Costanzo Detective Harvey Bullock
Melissa Gilbert Barbara Gordon / Batgirl
Supporting protagonists[edit]

Voice Actor
Role
Ingrid Oliu Officer Renee Montoya (season one)
Liane Schirmer Officer Renee Montoya (season two)
Brock Peters Lucius Fox
Mari Devon Summer Gleeson
Diana Muldaur Dr. Leslie Tompkins
Lloyd Bochner Mayor Hamilton Hill
Marilu Henner Veronica Vreeland
William Sanderson Karl Rossum
Bill McKinney Jonah Hex
Julie Brown Zatanna
Adam West Simon Trent / The Gray Ghost
Antagonists[edit]

Voice Actor
Role
Mark Hamill The Joker
Arleen Sorkin Dr. Harleen Quinzel / Harley Quinn
Paul Williams Oswald Cobblepot / The Penguin
Adrienne Barbeau Selina Kyle / Catwoman
Richard Moll Harvey Dent / Two-Face
John Glover Edward Nygma / The Riddler
Michael Ansara Dr. Victor Fries / Mr. Freeze
Diane Pershing Dr. Pamela Isley / Poison Ivy
Henry Silva Bane
David Warner Ra's al Ghul
Henry Polic II Dr. Jonathan Crane / The Scarecrow
Aron Kincaid Morgan / Killer Croc
Ron Perlman Matt Hagan / Clayface
Roddy McDowall Jervis Tetch / The Mad Hatter
Marc Singer Dr. Kirk Langstrom / Man-Bat
George Dzundza Arnold Wesker / The Ventriloquist
Supporting antagonists[edit]

Voice Actor
Role
Ed Asner Roland Daggett
Jeff Bennett HARDAC
Ray Buktenica Hugo Strange
Michael Gross Lloyd Ventrix
Robert Ito Kyodai Ken / The Ninja
Alison LaPlaca Mary Dahl / Baby Doll
Joseph Maher Dr. Emile Dorian
Kate Mulgrew Red Claw
George Murdock Boss Biggis
Michael Pataki Sewer King
Alan Rachins Temple Fugate / The Clock King
Helen Slater Talia al Ghul
Steve Susskind Maximillian "Maxie" Zeus
John Vernon Rupert Thorne
Bruce Weitz Lyle Bolton / Lock-Up
Treat Williams Professor Milo
Michael York Count Vertigo
Broadcasting[edit]



The Adventures of Batman & Robin, the on-screen title slide for season two.
Batman: The Animated Series premiered on the Fox Network's children's block Fox Kids on September 5, 1992 and aired in that block during weekday afternoons at 4:30pm. In December, just three months after its debut, Fox also began airing episodes of the series on prime-time Sunday evenings, marking one of the few times a show created for Saturday Morning Television was scheduled for prime-time broadcast. However, the TV ratings fell short (as the show aired opposite the perennial favorite 60 Minutes), and the series was removed from this time slot in March 1993.
After the series produced its 65th episode (the minimum number necessary for a TV series to be successfully syndicated), Fox Network executives ordered a second season of 20 more episodes that was later reduced to airing weekly on Saturday mornings. The second season featured Robin more prominently and, as a result, was retitled The Adventures of Batman & Robin in the title credits; this run of episodes had two new opening sequences and ending credits. In total, Batman: The Animated Series reached 85 episodes before finishing its original run of episodes on September 15, 1995.
In 1997, following the end of Fox Kids' five-year exclusive broadcast contract, the series began airing in re-runs on The WB Network's children's block Kids' WB, alongside Superman: The Animated Series, soon making a block-type show combining the two shows called The New Batman Superman Adventures.
Cartoon Network began airing re-runs of the series on March 2, 1998. From 1998 to 1999, the show was aired after Cartoon Network's action block Toonami, and then in 2000 it was aired on Toonami itself.
The show later began re-airing on September 30, 2007 on Toon Disney's Jetix lineup, again alongside Superman: The Animated Series (despite Warner Bros. being one of Disney's biggest competitors).
The show airs on Teletoon Retro (a Canadian broadcasting channel), debuting on January 8, 2010. The first 65 episodes were confirmed, with the first being "The Cat and Claw, Part 1". The show was scheduled to air on a weekly basis, airing at 7:00 AM, 6:00 PM, and midnight. All times are Eastern.[25]
The Hub started broadcasting the series on September 6, 2011. The network aired a 10-episode marathon of the series on July 20, 2012 to coincide with the theatrical release of The Dark Knight Rises and even created an animated version of one of the film's trailers, featuring Kevin Conroy and Adrienne Barbeau re-dubbing Batman and Catwoman's dialogue from the trailer.[26]
Critical reception[edit]
Batman: The Animated Series has been consistently ranked as one of the greatest animated television series ever made.[27][28][29] It has been highly praised for its sophistication, mature writing, voice acting, orchestrated soundtrack, artistic ambition, and faithfulness to its source material. In the 1992 year end issue, Entertainment Weekly ranked the series as one of the top television series of the year.[30]
In his reference book, Batman: The Complete History, Les Daniels described The Animated Series as coming "as close as any artistic statement has to defining the look of Batman for the 1990s."[31] Animation historian Charles Solomon gave the series a somewhat mixed assessment, commenting that "the dark, Art Deco-influenced backgrounds tended to eclipse the stiff animation and pedestrian storytelling" and concluding that the series "looked better in stills than it did on the screen."[32]
IGN listed The Animated Series as the best adaptation of Batman anywhere outside of comics,[1] the best comic book cartoon of all time,[6] and the second best animated series of all time (after The Simpsons).[33] Wizard magazine also ranked it #2 of the greatest animated television shows of all time (again after The Simpsons).[34] TV Guide ranked Batman: The Animated Series the seventh Greatest TV Cartoon of All Time.[35]
Influence[edit]
Due to the success of the series, many crew members went on to design and produce Superman: The Animated Series for The WB Network. During this time they created The New Batman Adventures, which featured the same streamlined animation style as Superman: The Animated Series, as well as numerous character re-designs from the original series despite taking place in the same continuity. The New Batman Adventures premiered in the fall of 1997 on The WB, airing alongside Superman: The Animated Series as part of an hour-long program titled The New Batman/Superman Adventures.
In 1999, a futuristic spin-off series titled Batman Beyond premiered on The WB, featuring a teenager named Terry McGinnis taking on the duties of Batman under the guidance of an elderly Bruce Wayne.[36] Then in 2001, the Justice League animated series premiered on Cartoon Network, featuring Batman as one of the founding members of the League. This was continued in 2004 by Justice League Unlimited, featuring a greatly expanded League.
The dramatic writing and stylized art of Batman: The Animated Series sets it apart from traditional comic book-based cartoons. It can be considered the dramatic equivalent of more adult-oriented cartoon shows like The Simpsons. For this reason the show's popularity (along with that of its various spin-offs) endures among older audiences and comic book fans.
The Lego minifigures of various Batman characters are more strongly based on the designs from Batman: The Animated Series than any other form of Batman media.[37] More precisely, the Joker, Two-Face, Poison Ivy, Mr. Freeze and Harley Quinn's minifigures seem to have identical costumes and faces to the characters from the series.
The dark atmosphere, mature themes, and even some of the voice cast from the series are heavily employed in the 2009 video game Batman: Arkham Asylum and its 2011 sequel, Batman: Arkham City.[38] Furthermore, Batman's design and costume in the series are featured as an alternate skin in Arkham City. It is available as downloadable content or as an early unlock with a pre-order at GameStop and a valid membership to Power-Up Rewards.[39] There are also Animated-inspired alternate skins for Catwoman, Nightwing and Robin. The same darker themes were also featured in the 2013 prequel game Batman: Arkham Origins.
Accolades[edit]

Question book-new.svg
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Annie Awards
1992 - Best Animated Television Program (nominated)
1994 - Best Achievement for Voice Acting - Mark Hamill (nominated)
1994 - Best Animated Television Program (nominated)
1994 - Best Individual Achievement for Creative Supervision in the Field of Animation - Bruce W. Timm and Eric Radomski (nominated)
1994 - Best Individual Achievement for Story Contribution in the Field of Animation - Paul Dini (nominated)
1995 - Best Animated Television Program (nominated)
1995 - Best Individual Achievement for Music in the Field of Animation - Shirley Walker (nominated)
Primetime Emmy Awards
1993 - Outstanding Animated Program – Jean MacCurdy, Tom Ruegger, Alan Burnett, Eric Radomski, Bruce W. Timm, Randy Rogel and Dick Sebast for "Robin's Reckoning: Part 1" (WON)
Daytime Emmy Awards
1993 - Outstanding Writing in an Animated Program - Michael Reaves, Sean Catherine Derek, Martin Pasko and Paul Dini (WON)
1993 - Outstanding Animated Program - Tom Ruegger, Eric Radomski, Frank Paur, Kevin Altieri, Alan Burnett, Jean MacCurdy, Bruce W. Timm and Boyd Kirkland (nominated)
1993 - Outstanding Film Sound Editing - Russell Brower, Matt Thorne, Robert Hargreaves, Mark Keatts, Bob Lacivita, Jeff M. Sliney, Mike Dickeson, Thomas Milano and Aaron L. King (nominated)
1993 - Outstanding Music Direction and Composition - Shirley Walker for "Feat of Clay Part, 2" (nominated)
1993 - Outstanding Music Direction and Composition - Harvey Cohen for "Cat Scratch Fever" (nominated)
1994 - Outstanding Animated Children's Program - Frank Paur, Jean MacCurdy, Tom Ruegger, Dan Riba, Eric Radomski, Bruce W. Timm and Alan Burnett (nominated)
1994 - Outstanding Writing in an Animated Program - Brynne Stephens, Martin Pasko, Michael Reaves, Alan Burnett, Randy Rogel, Laren Bright and Paul Dini (nominated)
1995 - Outstanding Film Sound Editing - Tom Maydeck, Robert Hargreaves, J.J. George, Mike Dickeson, Daryl B. Kell, Russell Brower, Matt Thorne, Mark Keatts and John Hegedes (nominated)
1995 - Outstanding Music Direction and Composition - Shirley Walker (nominated)
1996 - Outstanding Sound Mixing - Special Class - Harry Andronis, Matt Thorne and Tom Maydeck (nominated)
1996 - Outstanding Music Direction and Composition - Shirley Walker and Harvey Cohen for "A Bullet For Bullock" (WON)
1996 - Outstanding Sound Editing - Special Class - Robert Hargreaves, Matt Thorne, Russell Brower, Mike Dickeson, Bob Lacivita, Tom Maydeck, Mark Keatts, John Hegedes, Pat Rodman and Kelly Ann Foley (WON)
Saturn Awards
1993 - Best Genre Television Series (nominated)
Young Artist Awards
1994 - Best Youth Actor in a Voiceover Role: TV or Movie - Scott McAfee (nominated)
Music [edit]

Batman: The Animated Series

Soundtrack album by Shirley Walker, Lolita Ritmanis, Michael McCuistion, and Danny Elfman

Released
December 16, 2008
Length
137 minutes
Label
La La Land Records
Batman: The Animated Series featured a strong musical score written by several different composers throughout the course of the series. The main theme of the show, which was heard during the opening and ending credits of each episode, was composed by Danny Elfman. At first, Elfman turned down Bruce Timm's offer to compose the theme for the show and so Timm hired Shirley Walker to do so. However, Elfman later changed his mind and composed a variation of his 1989 Batman movie theme for the series. Walker's unused theme went on to become the main theme for the second season of the show, when the name was changed to The Adventures of Batman & Robin.[14]
In 1996, Walker won her first Daytime Emmy Award for her music direction of the episode "A Bullet for Bullock" (scored by Harvey R. Cohen). She would then go on to win another Daytime Emmy Award in the category of music-composition for Batman Beyond in 2001.[40]
Although at least twenty-four different composers worked on the series,[41] Walker, Lolita Ritmanis, and Michael McCuistion are regarded as the main contributors. After the series finished up in 1995, the three then went on to score Superman: The Animated Series (which also featured a theme by Walker) in 1996, The New Batman Adventures in 1997 and Batman Beyond in 1999. Television composer Kristopher Carter scored alongside Walker, Ritmanis, and McCuistion throughout the many DCAU series and later filled in for Walker after her death in 2006.
On December 16, 2008, La La Land Records announced the release of a soundtrack companion to Batman: The Animated Series onto a two-disc CD set. The release was limited to a pressing of 3,000 copies, which sold quickly.[42] About one month after its release, the soundtrack set had sold over 2,500 copies. According to a spokesperson of La-La Land Records, the sold out status of the soundtrack "can only help as the label hopes to convince Warner Bros. to release more Batman: The Animated Series soundtracks."[43]
Upon its release, the soundtrack received outstanding reviews,[44][45] and is now completely sold out. The soundtrack was re-released in July 2012, minus "Gotham City Overture" (a suite featuring Walker's themes from the series, some of which do not appear elsewhere on the album) and "Music Of The Bat 101" (a bonus track with Walker herself demonstrating the show's main music).[46]
In July 2012, La La Land Records released a four-disc CD set with further music cues from the series, titled Batman: The Animated Series – Original Soundtrack From The Warner Bros. Television Series, Volume Two.[47]
Volume 3 is planned for release from La La Land Records, which will be the final volume (and will not include every episode score of the initial 65) before moving to the later incarnations of the series, as well as Superman: The Animated Series and Justice League in following years.
Track listing[edit]

Disc One (Total Time 76:05)[show]











































Disc Two (Total Time 74:02)[show]










































Home media releases[edit]
VHS[edit]
United Kingdom[edit]

[show]Title
Episodes
Release Date
Run Time
   
   
   
   
   
   

  
   
   
   
   
   
   
   
   
   
   

  
United States[edit]

[show]Title
Episodes
Release Date
Run Time
   
   
   
   
   

  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
 
 
   
   
   
   
   
   
   
   
Chinese Subtitled[edit]

[show]Title
Episodes
Release Date
Run Time
   
   
   
   
Spanish Subtitled[edit]

[show]Title
Episodes
Release Date
Run Time
   
   
   
   
   
   
   
   
DVD [edit]
Region 1
Warner Home Video has released Batman: The Animated Series on DVD in Region 1 in three volume box sets. A fourth volume containing all 24 episodes of The New Batman Adventures was also released and these episodes now also begin with the original Season 1 opening sequence, and also end with the standard final credits. Warner Home Video later released Batman: The Complete Animated Series, which features all episodes from both the original series and The New Batman Adventures, on DVD in Region 1. The set includes all features from the four individual volumes plus a bonus 17th disc with a new special feature and a 40 page Collector's book containing artwork.[14] The DVD was originally on sale for a limited time only and went out of print in January 2009. Warner Home Video then released a second printing of the DVD in May 2009, but withdrew the DVD in August 2009.

DVD Name
Episode #
Release Date
Additional Information
Batman: The Animated Series – Volume 1 28 July 6, 2004 S01E01-28
Commentary on "On Leather Wings" and "Heart of Ice"
"The Dark Knight's First Night" Featurette
"Batman: The Legacy Continues" Featurette
Tour of the Batcave
Trailers

Batman: The Animated Series – Volume 2 28 January 25, 2005 S01E29-56
Commentary Tracks
Robin Rising Featurette
Gotham's Guardians Featurette
Voices of the Knight Featurette

Batman: The Animated Series – Volume 3 29 May 24, 2005 S01E57-65
S02E01-20 (The Adventures of Batman & Robin)
Audio and Video Commentaries
Extra Animated Cell 4"x6" In Some Sets
Gotham's New Knight — Featurette on Batgirl as Batman's Newest Ally

Batman: The Animated Series - Volume 4 24 December 6, 2005 All 24 episodes of The New Batman Adventures
Audio and Video Commentaries

Batman: The Complete Animated Series 109 November 4, 2008 All 85 episodes of Batman: The Animated Series
All 24 episodes of The New Batman Adventures
40 page collector book

Region 2
Volumes 1 and 2 were released on DVD in the UK on October 10, 2005 (Volume 1) and August 21, 2006 (Volume 2). These DVD volumes are exclusive to the retail chain HMV in the United Kingdom.
 On June 14, 2008, Volume 1 was re-released in the UK as a non-HMV exclusive, though both the artwork and the extras remain the same as the original HMV exclusive release.[175] Volume 2 was released in the same way on March 3, 2009.[176] As of 2012, Volumes 3 & 4 are availabile to buy with Regions 1 / 2 / 3 & 4 compatibility.
In Bulgaria, Volumes 1 and 2 were released in early 2006. Each disc was sold separately in amaray case. They were Regions 2 and 5.
Region 3
In China, the show was packaged into four different DVD volume sets just as it was done in Region 1. Volumes 1 and 2 were both released on February 28, 2005, while Volume 3 was released July 7, 2005 and Volume 4 was released February 17, 2006.[177]
Region 4
In Australia, Volume 1 was released on October 19, 2005.[178] Volumes and the boxset are available at websites like eBay.com, Amazon.com and Quicksales.com. All four seasons are also available on the Australian iTunes Store.
Video games[edit]
Several video games based on the animated continuity were released during the 16-bit game-machine era, using the The Adventures of Batman & Robin second season branding. Konami developed a game for the Super Nintendo Entertainment System (SNES), while Sega released versions of the game for the Sega Genesis/Mega Drive, Mega-CD and Game Gear. The SNES, Genesis/Mega Drive and Game Gear versions were side-scrolling action games, while the Mega-CD version featured a 3-D driving adventure. All of the games had art true to the series, while Sega's versions featured art elements directly from the show's creators.[179] The CD version has over 20 minutes of original animated footage comparable to the most well crafted episodes,[180] with the principal voice actors reprising their roles.
There was also a game made for the Game Boy based on the series and created around the same time. Developed and published by Konami, this game was distinctive upon the fact that it still used the earlier Batman: The Animated Series moniker instead of the The Adventures of Batman & Robin second season title given to the other games.
Though not directly related, the 2009 game Batman: Arkham Asylum features some of the old voice talent from Batman: The Animated Series reprising their roles, and the 2011 game Batman: Arkham City features this in addition to Batman, Robin, Nightwing, and Catwoman's costumes from the series as downloadable content.
See also[edit]
Gotham Girls


Animation disc.svgAnimation portal
 Uomo ragno 1 (Small).jpgSuperhero fiction portal
 Blank television set.svgTelevision portal
 Flag of the United States.svgUnited States portal
 

References[edit]
Notes[edit]
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2.^ Jump up to: a b TV.com, Batman: The Animated Series - show overview.
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11.Jump up ^ TV Guide Magazine's 60 Greatest Cartoons of All Time
12.Jump up ^ Batman-On-Film, Batman: The Animated Series.
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41.Jump up ^ [1]
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58.Jump up ^ "Batman - the Animated Series: Volume 2 [VHS]". Amazon.co.uk. Retrieved 2 January 20131.
59.Jump up ^ "The Adventures of Batman and Robin: Robin [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
60.Jump up ^ "The Adventures of Batman and Robin: the Joker [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
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62.Jump up ^ "The Adventures of Batman and Robin: Two-Face [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
63.Jump up ^ "The Adventures of Batman and Robin: the Penguin [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
64.Jump up ^ "The Adventures of Batman and Robin: Joker's Return [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
65.Jump up ^ "The Adventures of Batman and Robin: Poison Ivy [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
66.Jump up ^ "'Batman the Animated Series - the Legend Begins [VHS]". Amazon.co.uk. Retrieved 2 January 2013.
67.Jump up ^ "Batman, the animated series. International menace". worldcat.org. Retrieved 11 January 2013.
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69.Jump up ^ "Batman, the animated series. Friends and foes". worldcat.org. Retrieved 10 January 2013.
70.Jump up ^ "Batman The Animated Series: Friends and Foes". Amazon.com. Retrieved 6 January 2013.
71.Jump up ^ "Batman, the animated series. The joker". worldcat.org. Retrieved 11 January 2013.
72.Jump up ^ "Batman The Animated Series: The Joker". Amazon.com. Retrieved 6 January 2013.
73.Jump up ^ "Batman, the animated series : the trials of Harvey Dent.". worldcat.org. Retrieved 11 January 2013.
74.Jump up ^ "The trials of Harvey Dent". worldcat.org. Retrieved 11 January 2013.
75.Jump up ^ "The trials of Harvey Dent". worldcat.org. Retrieved 11 January 2013.
76.Jump up ^ "Batman: The Animated Series-The Trials of Harvey Dent". Amazon.com. Retrieved 6 January 2013.
77.Jump up ^ "Partners". worldcat.org. Retrieved 11 January 2013.
78.Jump up ^ "Batman The Animated Series Collector's Edition: Partners". Amazon.com. Retrieved 6 January 2013.
79.Jump up ^ "Batman, the animated series. King and pawns". worldcat.org. Retrieved 11 January 2013.
80.Jump up ^ "Batman The Animated Series: Kings and Prawns". Amazon.com. Retrieved 6 January 2013.
81.Jump up ^ "Batman, the animated series. Super friends". worldcat.org. Retrieved 11 January 2013.
82.Jump up ^ "Batman The Animated Series: Super Friends". Amazon.com. Retrieved 6 January 2013.
83.Jump up ^ "Batman, the animated series. Cold fear". worldcat.org. Retrieved 11 January 2013.
84.Jump up ^ "Batman The Animated Series: Cold Fear". Amazon.com. Retrieved 6 January 2013.
85.Jump up ^ "Batman, the animated series. Mean streets". worldcat.org. Retrieved 11 January 2013.
86.Jump up ^ "Batman The Animated Series Collector's Edition: Mean Streets". Amazon.com. Retrieved 6 January 2013.
87.Jump up ^ "Batman, the animated series. Monsters". worldcat.org. Retrieved 11 January 2013.
88.Jump up ^ "Batman The Animated Series: Monsters". Amazon.com. Retrieved 6 January 2013.
89.Jump up ^ "Batman, the animated series. Monsters and mayhem". worldcat.org. Retrieved 10 January 2013.
90.Jump up ^ "Batman The Animated Series: Monsters and Mayhem". Amazon.com. Retrieved 6 January 2013.
91.Jump up ^ "Batman, the animated series. Villians without costumes". worldcat.org. Retrieved 10 January 2013.
92.Jump up ^ "Batman The Animated Series: Villians Without Costumes". Amazon.com. Retrieved 7 January 2013.
93.Jump up ^ "Batman, the animated series. Scratches and other wounds". worldcat.org. Retrieved 10 January 2013.
94.Jump up ^ "Batman Animated Series Collector's Edition (Scratches and Other Wounds)". Amazon.com. Retrieved 7 January 2013.
95.Jump up ^ "Batman, the animated series. Fear and madness". worldcat.org. Retrieved 11 January 2013.
96.Jump up ^ "Batman The Animated Series: Fear and Madness". Amazon.com. Retrieved 7 January 2013.
97.Jump up ^ "Batman, the animated series. Cops and robbers". worldcat.org. Retrieved 11 January 2013.
98.Jump up ^ "Batman The Animated Series: Cops and Robbers". Amazon.com. Retrieved 7 January 2013.
99.Jump up ^ "Batman, the animated series. The cat and the claw". worldcat.org. Retrieved 11 January 2013.
100.Jump up ^ "Batman The Animated Series: The Cat and The Claw". Amazon.com. Retrieved 7 January 2013.
101.Jump up ^ "Batman, the animated series. Perceptions and reality". worldcat.org. Retrieved 11 January 2013.
102.Jump up ^ "Batman The Animated Series: Perceptions and Reality". Amazon.com. Retrieved 7 January 2013.
103.Jump up ^ "Batman, the animated series. Matters of the heart". worldcat.org. Retrieved 11 January 2013.
104.Jump up ^ "Batman The Animated Series: Matters of the Heart". Amazon.com. Retrieved 7 January 2013.
105.Jump up ^ "Batman, the animated series. Scared straight". worldcat.org. Retrieved 11 January 2013.
106.Jump up ^ "Batman The Animated Series: Scared Straight". Amazon.com. Retrieved 7 January 2013.
107.Jump up ^ "Batman, the animated series. Harley". worldcat.org. Retrieved 11 January 2013.
108.Jump up ^ "Batman The Animated Series: Harley". Amazon.com. Retrieved 7 January 2013.
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111.Jump up ^ "Batman, the animated series. Stir crazy". worldcat.org. Retrieved 11 January 2013.
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113.Jump up ^ "Batman, the animated series. A million laughs". worldcat.org. Retrieved 11 January 2013.
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115.Jump up ^ "Batman, the animated series. Animal acts". worldcat.org. Retrieved 11 January 2013.
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137.Jump up ^ "Batman : fire and ice". worldcat.org. Retrieved 11 January 2013.
138.Jump up ^ "Adv of Batman & Robin: Fire & Ice [VHS] (1992)". Amazon.com. Retrieved 6 January 2013.
139.Jump up ^ "The Penguin". worldcat.org. Retrieved 11 January 2013.
140.Jump up ^ "The Penguin (The Adventures of Batman & Robin) [VHS] (1992)". Amazon.com. Retrieved 3 January 2013.
141.Jump up ^ "Poison Ivy". worldcat.org. Retrieved 11 January 2013.
142.Jump up ^ "Adventures of Batman & Robin: Poison Ivy [VHS] (1992)". Amazon.com. Retrieved 6 January 2013.
143.Jump up ^ "The Batman Superman Movie [VHS] (1998)". Amazon.com. Retrieved 3 January 2013.
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146.Jump up ^ "Batman & Mr. Freeze - Subzero [VHS] (1998)". Amazon.com. Retrieved 6 January 2013.
147.Jump up ^ "The legend begins". worldcat.org. Retrieved 11 January 2013.
148.Jump up ^ "Batman - The Animated Series - The Legend Begins [VHS] (1992)". Amazon.com. Retrieved 3 January 2013.
149.Jump up ^ "Batman - The Animated Series - The Legend Begins [VHS] (1992)". Amazon.com. Retrieved 3 January 2013.
150.Jump up ^ "Tales of the dark knight". worldcat.org. Retrieved 11 January 2013.
151.Jump up ^ "Batman - The Animated Series - Tales of the Dark Knight [VHS] (1992)". Amazon.com. Retrieved 3 January 2013.
152.Jump up ^ "Batman, The Animated Series: Tales of the Dark Knight (1992)". Amazon.com. Retrieved 3 January 2013.
153.Jump up ^ "Batman Video Collection (3pk)". Amazon.com. Retrieved 3 January 2013.
154.Jump up ^ "Batman - The Animated Series - The Legend Begins/Justice League [VHS] (1992)". Amazon.com. Retrieved 8 January 2013.
155.Jump up ^ "Batman Animated Collection (Sub Zero/Batman Beyond - The Movie/Mask of the Phantasm) [VHS] (1998)". Amazon.com. Retrieved 8 January 2013.
156.Jump up ^ "Batman the animated series. Out of the shadows". worldcat.org. Retrieved 11 January 2013.
157.Jump up ^ "Batman - The Animated Series - Out of the Shadows [VHS] (1992)". Amazon.com. Retrieved 3 January 2013.
158.Jump up ^ "Batman: The animated Series Out Of The Shadows (1992)". Amazon.com. Retrieved 4 February 2013.
159.Jump up ^ "Batman - Mystery of the Batwoman [VHS] (2003)". Amazon.com. Retrieved 3 January 2013.
160.Jump up ^ "Batman - Mystery of the Batwoman [VHS] (2003)". Amazon.com. Retrieved 8 January 2013.
161.Jump up ^ "Batman, the animated series. Secrets of the caped crusader". worldcat.org. Retrieved 11 January 2013.
162.Jump up ^ "Batman Animated Series: Secrets of Caped Crusader [VHS]". Amazon.com. Retrieved 6 January 2013.
163.Jump up ^ "Batman Animated - On Leather Wings and Heart Of Ice! - Chinese Sub-Titles!". Amazon.com. Retrieved 8 February 2013.
164.Jump up ^ "Batman Animated - Feat Of Clay Part 1 and 2 - Chinese Sub-Titles". Amazon.co.uk. Retrieved 8 February 2013.
165.Jump up ^ "Batman - It's Never Too Late and Joker's Favor - Chinese Sub-Titles". Amazon.co.uk. Retrieved 8 February 2013.
166.Jump up ^ "Batman - The Cat And The Claw - Part 1 and 2 - Chinese Sub-Titles.". Amazon.co.uk. Retrieved 8 February 2013.
167.Jump up ^ "Batman:Mask of the Phantasm (Spanish Edition) [VHS] (1993)". Amazon.com. Retrieved 9 February 2013.
168.Jump up ^ "Adv of Batman & Robin: Robin [VHS] (1992)". Amazon.com. Retrieved 8 February 2013.
169.Jump up ^ "Adv of Batman & Robin: Riddler [VHS] (1992)". Amazon.com. Retrieved 8 February 2013.
170.Jump up ^ "Adv of Batman & Robin: Two-Face [VHS] (1992)". Amazon.com. Retrieved 8 February 2013.
171.Jump up ^ "Adv of Batman & Robin: Joker [VHS] (1992)". Amazon.com. Retrieved 8 January 2013.
172.Jump up ^ "Adv of Batman & Robin: Batman [VHS] (1992)". Amazon.com. Retrieved 8 January 2013.
173.Jump up ^ "Adv of Batman & Robin: Fire & Ice [VHS] (1992)". Amazon.com. Retrieved 8 January 2013.
174.Jump up ^ "Adv of Batman & Robin: Penguin [VHS] (1992)". Amazon.com. Retrieved 8 January 2013.
175.Jump up ^ Amazon UK, Batman Animated Season 1.
176.Jump up ^ Amazon UK, Batman Animated Season 2.
177.Jump up ^ YESASIA, Region 3 DVD releases.
178.Jump up ^ ABC Shop, Region 4 DVD releases.
179.Jump up ^ IGN, The Adventures of Batman & Robin - Sega CD.
180.Jump up ^ Moby Games, The Adventures of Batman & Robin video game description.
Bibliography [edit]
Dini, P. and Kidd, C. Batman Animated, Perennial Currents, 1998. ISBN 0-06-107327-X
External links[edit]
 Wikiquote has a collection of quotations related to: Batman: The Animated Series
Official website
The Adventures of Batman & Robin at Fox Kids (Archive)
Batman: The Animated Series at The World's Finest
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Batman: The Animated Series at DCAU Wiki
Batman: The Animated Series at the Internet Movie Database
Batman: The Animated Series at Big Cartoon DataBase
Batman: The Animated Series at TV.com
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Metropolis (1927 film)
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Metropolis
Metropolisposter.jpg
Original 1927 theatrical release poster

Directed by
Fritz Lang
Produced by
Erich Pommer
Written by
Thea von Harbou
 Fritz Lang
(uncredited)
Starring
Alfred Abel
Brigitte Helm
Gustav Fröhlich
Rudolf Klein-Rogge
Music by
Gottfried Huppertz
(original score)
Cinematography
Karl Freund
Günther Rittau
Walter Ruttmann
Distributed by
UFA
Release dates
10 January 1927[1]
Running time
148 minutes
(2010 restoration)
 153 minutes
(1927 premiere, lost)
Country
Germany (Weimar Republic)
Language
Silent film
 German intertitles
Budget
5,100,000 Reichsmark (estimated)
Box office
75,000 Reichsmark (estimated)
Metropolis is a 1927 German expressionist epic science-fiction film directed by Fritz Lang. The film was written by Lang and his wife Thea von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. A silent film, it was produced in the Babelsberg Studios by UFA.
Metropolis is regarded as a pioneer work of science fiction movies, being the first feature length movie of the genre.[2]
Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city's ruler, and Maria, whose background is not fully explained in the film, to overcome the vast gulf separating the classes of their city. Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks.[3] Thus, it was the most expensive film ever released up to that point.[4]
The film was met with a mixed response upon its initial release, with many critics praising its technical achievements and social metaphors while others derided its "simplistic and naïve" presentation. Because of its long running-time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere: large portions of the film were lost over the subsequent decades.
Numerous attempts have been made to restore the film since the 1970s-80s. Giorgio Moroder, a music producer, released a version with a soundtrack by rock artists such as Freddie Mercury, Loverboy and Adam Ant in 1984. A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001, and the film was inscribed on UNESCO's Memory of the World Register in the same year, the first film thus distinguished.[5] In 2008, a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.


Contents  [hide]
1 Plot
2 Cast
3 Influences
4 Production 4.1 Pre-production
4.2 Filming
4.3 Special effects
5 Release 5.1 Early release history
5.2 Reception
5.3 Restorations
5.4 Copyright issues
6 Music 6.1 Original score
6.2 Other soundtracks
7 Adaptations
8 Awards and honors
9 See also
10 References
11 External links

Plot[edit]
In the future, wealthy industrialists rule the vast city of Metropolis from high-rise tower complexes, while a lower class of underground-dwelling workers toil constantly to operate the machines that provide its power. The Master of Metropolis is the ruthless Joh Fredersen (Alfred Abel), whose son Freder (Gustav Fröhlich) idles away his time in a pleasure garden with the other children of the rich. Freder is interrupted by the arrival of a young woman named Maria (Brigitte Helm), who has brought a group of workers' children to see the privileged lifestyle led by the rich. Maria and the children are quickly ushered away, but Freder is fascinated by Maria and descends to the workers' city in an attempt to find her.
Freder finds himself in the machine rooms and watches in horror as a huge machine explodes, causing several injuries and deaths, after one of its operators collapses from exhaustion. Appalled by what he has witnessed, Freder runs to tell his father. Fredersen is angered that he learned of the explosion from Freder rather than his assistant Josaphat (Theodor Loos), and fires Josaphat as a result, showing no sympathy toward him or the workers. Knowing that he can only go into the depths and become a worker, Josaphat attempts suicide but is stopped by Freder, who sends him home to wait for him. Concerned by Freder's unusual behavior, Fredersen dispatches the Thin Man (Fritz Rasp) to keep track of his movements.
Returning to the machine rooms, Freder encounters the worker Georgy (Erwin Binswanger) and takes his place when he collapses at his post. The two men trade clothes, with Freder instructing Georgy to go to Josaphat's apartment and wait for him. However, while being driven away by Freder's chauffeur, Georgy becomes distracted by the sights and sounds in the licentious Yoshiwara nightclub and spends the evening there instead. Meanwhile, Freder finds a map in his pocket and learns of a secret meeting from another worker as he suffers hallucinations brought on by the exhausting shift.
Fredersen has received copies of the map as well, taken from the bodies of the men killed in the explosion, and takes them to the inventor Rotwang (Rudolf Klein-Rogge) in order to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen; she died giving birth to Freder, but he has since built a robot (a Maschinenmensch, or Machine-Human) to "resurrect" her, to Fredersen's horror. The maps show the layout of a network of ancient catacombs beneath Metropolis, and the two men leave to investigate. They eavesdrop on a gathering of workers, including Freder, and Maria waiting to address them.



 Maria, statue in Babelsberg, Germany
Maria prophesies the arrival of a mediator who can bring the working and ruling classes together, and urges the workers to have patience. Freder comes to believe that he could fill the role, and after the meeting breaks up, he declares his love for her. They agree to meet in the city cathedral the next day, then part. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can ruin her reputation among the workers, but does not know of Rotwang's secret plan to destroy Freder as revenge for losing Hel. Rotwang chases Maria up through the catacombs and kidnaps her.
The next morning, the Thin Man catches Georgy leaving Yoshiwara, orders him to return to his post, and takes Josaphat's address from him. Freder goes to Josaphat's apartment in search of Georgy, but finds that Georgy never arrived. After telling Josaphat of his time in the workers' city, Freder leaves for the cathedral, just missing the arrival of the Thin Man. Josaphat rebuffs the Thin Man's attempts to bribe and intimidate him into leaving Metropolis; the two fight, and Josaphat escapes to hide in the workers' city.
Freder does not find Maria at the cathedral, but he does overhear a monk preaching about the Whore of Babylon and an approaching apocalypse. Coming across statues of Death and The Seven Deadly Sins, he begs them not to harm Maria, then leaves to search for her. He hears her cries while passing Rotwang's house and ends up trapped inside until the robot has been fully transformed into Maria's double. Rotwang sends her to greet Fredersen; Freder finds the two embracing in his office and faints, falling into a prolonged delirium. The false Maria begins to unleash chaos throughout Metropolis, driving men to murder out of lust for her in Yoshiwara and stirring dissent amongst the workers.
Freder recovers ten days later and seeks out Josaphat, who tells him of the spreading trouble. At the same time, the real Maria escapes from Rotwang's house after Fredersen breaks in to fight with him, having learned of Rotwang's treachery. Descending to the catacombs, Freder and Josaphat find the false Maria urging the workers to rise up and destroy the machines. When Freder accuses her of not being the real Maria, the workers recognize him as Fredersen's son and rush him, but Georgy protects him and is stabbed to death. Fredersen orders that the workers be allowed to rampage, so that he can justifiably use force against them at a later time.
The workers follow the false Maria from their city to the machine rooms, unknowingly leaving their children behind. They abandon their posts and destroy the Heart Machine, the central power station for Metropolis, after its foreman Grot (Heinrich George) reluctantly grants them access to it on Fredersen's orders. As all systems above and below ground fail, Maria descends to the workers' city, which begins to flood due to the stopped water pumps. She gathers the children in the main square, and with help from Freder and Josaphat, they escape from the workers' city as it crumbles in the flood.
In the machine rooms, Grot gets the attention of the wildly celebrating workers and berates them for their out-of-control actions. Realizing that they left their children behind in the now-flooded city, the workers go mad with grief and storm out to avenge themselves upon the "witch" (the false Maria), who spurred them on and has since slipped away to join the revelry at Yoshiwara. Meanwhile, Rotwang has fallen under the delusion that Maria is Hel and sets out to find her. The mob captures the false Maria and burns her at the stake; a horrified Freder watches, not understanding the deception until the outer covering disintegrates to reveal the robot underneath.
Rotwang chases Maria to the roof of the cathedral, pursued by Freder, and the two men fight as Fredersen and the workers watch from the street. Josaphat tells the workers of their children's safety to stop them from harming Fredersen. Rotwang eventually loses his balance and falls to his death. On the cathedral steps, Freder fulfills his role as mediator ("heart"), linking the hands of Fredersen (the city's "head") and Grot (its "hands") to bring them together.
Cast[edit]
Gustav Fröhlich as Freder
Brigitte Helm as Maria and her robot double
Alfred Abel as Joh Fredersen, the master of Metropolis and Freder's father.
Rudolf Klein-Rogge as Rotwang, a scientist
Heinrich George as Grot, the foreman of the Heart Machine
Fritz Rasp as The Thin Man, Fredersen's spy
Theodor Loos as Josaphat, Fredersen's assistant
Erwin Biswanger as Georgy (or 11811), a worker
Influences[edit]





Above, the Tower of Babel, modelled after Brueghel's 1563 painting,[6] below.



Metropolis features a range of elaborate special effects and set designs, ranging from a huge gothic cathedral to a futuristic cityscape.
In an interview, Fritz Lang reported that "the film was born from my first sight of the skyscrapers in New York in October 1924". Describing his first impressions of the city, Lang said that "the buildings seemed to be a vertical sail, scintillating and very light, a luxurious backdrop, suspended in the dark sky to dazzle, distract and hypnotize".[7]
The appearance of the city in Metropolis is strongly informed by the Art Deco movement; however it also incorporates elements from other traditions. Ingeborg Hoesterey described the architecture featured in Metropolis as eclectic, writing how its locales represent both “functionalist modernism [and] art deco” whilst also featuring “the scientist’s archaic little house with its high-powered laboratory, the catacombs [and] the Gothic cathedral”.[8] The film’s use of art deco architecture was highly influential, and has been reported to have contributed to the style’s subsequent popularity in Europe and America.[9]
The film drew heavily on Biblical sources for several of its key set-pieces. During her first talk to the workers, Maria uses the story of the Tower of Babel to highlight the discord between the intellectuals and the workers. Additionally, a delusional Freder imagines the false-Maria as the Whore of Babylon, riding on the back of a many-headed dragon.
The name of the Yoshiwara club alludes to the famous red-light district of Tokyo.
Production[edit]
Pre-production[edit]
The screenplay of Metropolis was written by Fritz Lang and his wife, Thea Von Harbou, a popular writer in Weimar Germany. The film's plot originated from a novel written by Harbou for the sole purpose of being made into a film. The novel featured strongly in the film's marketing campaign, and was serialized in the journal Illustriertes Blatt in the run-up to its release. Harbou and Lang collaborated on the screenplay derived from the novel, and several plot points and thematic elements — including most of the references to magic and occultism present in the novel — were dropped. The screenplay itself went through many re-writes, and at one point featured an ending where Freder would have flown to the stars; this plot element later became the basis for Lang's Woman in the Moon.[10]
Filming[edit]
Metropolis began filming on 22 May 1925. The cast of the film was mostly composed of unknowns; this was particularly true of nineteen-year-old Brigitte Helm who had no previous film experience.[10]
Shooting of the film was a draining experience for the actors involved, due to the demands made of them by director Fritz Lang. For the scene where the worker's city was flooded, Helm and five hundred children from the poorest districts of Berlin had to work for fourteen days in a pool of water that Lang intentionally kept at a low temperature.[10] Lang would frequently demand numerous re-takes, and took three days to shoot a simple scene where Freder collapses at Maria's feet; by the time Lang was satisfied with the footage he had shot, actor Gustav Fröhlich found he could barely stand. Other anecdotes involve Lang's insistence on using real fire for the climatic scene where the false Maria is burnt at the stake (which resulted in Helm's dress catching fire), and his ordering extras to throw themselves towards powerful jets of water when filming the flooding of the worker's city.[11]
Helm recalled her experiences of shooting the film in a contemporary interview, saying that "the night shots lasted three weeks, and even if they did lead to the greatest dramatic moments — even if we did follow Fritz Lang’s directions as though in a trance, enthusiastic and enraptured at the same time — I can’t forget the incredible strain that they put us under. The work wasn’t easy, and the authenticity in the portrayal ended up testing our nerves now and then. For instance, it wasn’t fun at all when Grot drags me by the hair, to have me burned at the stake. Once I even fainted: during the transformation scene, Maria, as the android, is clamped in a kind of wooden armament, and because the shot took so long, I didn’t get enough air."[12]
Shooting on Metropolis lasted over a year, and was finally completed on 30 October 1926.[11]
Special effects[edit]
The effects expert, Eugen Schüfftan, created pioneering visual effects for Metropolis. Among the effects used are miniatures of the city, a camera on a swing, and most notably, the Schüfftan process,[13] in which mirrors are used to create the illusion that actors are occupying miniature sets. This new technique was seen again just two years later in Alfred Hitchcock's film Blackmail (1929).[14]
The Maschinenmensch — the robot built by Rotwang to resurrect his lost love Hel — was created by sculptor Walter Schulze-Mittendorff. A whole-body plaster cast was taken of actress Brigitte Helm, and the costume was then constructed around it. A chance discovery of a sample of "plastic wood" (a pliable substance designed as wood-filler) allowed Schulze-Mittendorff to build a costume that would both appear metallic and allow a small amount of free movement.[15] Helm sustained cuts and bruises while in character as the robot, as the costume was rigid and uncomfortable.[16]
Release[edit]
Early release history[edit]
Metropolis had its premiere at the Ufa-Palast am Zoo movie theater in Berlin on 10 January 1927, where the audience reacted to several of the film's most spectacular scenes with "spontaneous applause". At the time of its German premiere, Metropolis had a length of 4,189 metres (approximately 153 mins at 24 fps).[11][17][18] Metropolis had been funded in part by Paramount Pictures and Metro-Goldwyn-Mayer, and UFA had formed a distribution deal with the two companies whereby they were "entitled to make any change [to films produced by UFA] they found appropriate to ensure profitability". The distribution of Metropolis was handled by Parufamet, a multinational company that incorporated all three film studios. Considering Metropolis too long and unwieldy, Parufamet commissioned American playwright Channing Pollock to write a simpler version of the film that could be assembled using the existing material. Pollock shortened the film dramatically, altered its inter-titles and removed all references to the character of Hel (as the name sounded too similar to the English word Hell), thereby removing Rotwang's original motivation for creating his robot. In Pollock's cut, the film ran for 3170 meters, or approximately 115 minutes. This version of Metropolis premiered in the U.S in March 1927, and was released in the U.K around the same time with different title cards.[17]
Alfred Hugenberg, a nationalist businessman, cancelled UFA's debt to Paramount and Metro-Goldwyn-Mayer after taking charge of the company in April 1927, and chose to halt distribution in German cinemas of Metropolis in its original form. Hugenberg had the film cut down to a length of 3241 meters, removing the film's perceived "inappropriate" communist subtext and religious imagery. Hugenberg's cut of the film was released in German cinemas in August 1927. UFA distributed a still shorter version of the film (2530 meters, 91 minutes) in 1936, and an English version of this cut was archived in the MOMA film library.[17]
Reception[edit]
Despite the film's later reputation, some contemporary critics panned it. The New York Times critic Mordaunt Hall called it a "technical marvel with feet of clay". The Times went on the next month to publish a lengthy review by H. G. Wells who accused it of "foolishness, cliché, platitude, and muddlement about mechanical progress and progress in general." He faulted Metropolis for its premise that automation created drudgery rather than relieving it, wondered who was buying the machines' output if not the workers, and found parts of the story derivative of Shelley's Frankenstein, Karel Čapek's robot stories, and his own The Sleeper Awakes.[19] Wells called Metropolis "quite the silliest film."
Nazi propagandist Joseph Goebbels was impressed with the film's message of social justice. In a 1928 speech he declared that "the political bourgeoisie is about to leave the stage of history. In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission".[20]
Fritz Lang later expressed dissatisfaction with the film. In an interview with Peter Bogdanovich (in Who The Devil Made It: Conversations with Legendary Film Directors, published in 1998), he expressed his reservations:

The main thesis was Mrs. Von Harbou's, but I am at least 50 percent responsible because I did it. I was not so politically minded in those days as I am now. You cannot make a social-conscious picture in which you say that the intermediary between the hand and the brain is the heart. I mean, that's a fairy tale – definitely. But I was very interested in machines. Anyway, I didn't like the picture – thought it was silly and stupid – then, when I saw the astronauts: what else are they but part of a machine? It's very hard to talk about pictures—should I say now that I like Metropolis because something I have seen in my imagination comes true, when I detested it after it was finished?
In his profile for Lang featured in the same book, which prefaces the interview, Bogdanovich suggested that Lang's distaste for his own film also stemmed from the Nazi Party's fascination with the film. Von Harbou became a passionate member of the Nazi Party in 1933. They divorced the following year.
Roger Ebert noted that "Metropolis is one of the great achievements of the silent era, a work so audacious in its vision and so angry in its message that it is, if anything, more powerful today than when it was made."[21] The film also has a 99% rating at Rotten Tomatoes, based on 104 reviews.[22]
Restorations[edit]



 Poster for the 2002 restored version, featuring the Maschinenmensch
The original premiere cut eventually disappeared, and a quarter of the original film was long believed to be lost forever.[23]
In 1984, a new restoration and edit of the film was made by Giorgio Moroder. Moroder's version of the film was tinted throughout, featured additional special effects, subtitles instead of intertitles and a pop soundtrack featuring well-known singers, instead of a traditional score. It was the first serious attempt made at restoring Metropolis to Lang's original vision, and until Kino's restorations in 2002 and 2010, it was the most complete version of the film in existence; the shorter run time was due to the removal of the intertitles in favor of subtitles, as well as a faster frame rate than the original. The film was nominated for two Razzie Awards including Worst Original Song for Love Kills and Worst Musical Score for Moroder.[24]
In August 2011, after years of being unavailable on video in any format due to music licensing issues, it was announced that Kino International had managed to resolve the issues, and not only would the film be released on both Blu-Ray and DVD in November of that year, but it would also have a limited theatrical re-release.[25]
The moderate commercial success of the Moroder version of the film inspired Enno Patalas to make an exhaustive attempt to restore the movie in 1986. This version was the most accurate reconstruction until that time, being based on the film’s script and musical score. The basis of Patalas' work was a copy in the Museum of Modern Art's collection.[26]
In conjunction with Kino International, Metropolis’s current copyright holder, the F.W. Murnau Foundation released a digitally restored version of the film in 2002. This edition included the film’s original music score and title cards that described the events featured in missing sequences. Previously unknown sections of the film were discovered in film museums and archives around the world, and the footage was digitally cleaned and repaired to remove defects.
On 1 July 2008, film experts in Berlin announced that a 16 mm reduction negative of the original cut of the film had been discovered in the archives of the Museo del Cine[27] in Buenos Aires, Argentina.[28][29] The print had been in circulation since 1928, starting off with a film distributor, and subsequently being passed to a private collector, an art foundation, and finally the Museo del Cine. The print was investigated by the museum’s curator, Argentinian film collector, curator and historian Fernando Martín Peña, after he heard an anecdote from a cinema club manager expressing surprise at the length of a print of Metropolis he had viewed.[30]
Prior to the Argentine discovery, in 2005, Wollongong-based historian and politician Michael Organ had examined a print of the film in the National Film Archive of New Zealand. Organ discovered that the print contained scenes missing from other copies of the film. After hearing of the discovery of the Argentine print of the film, and the restoration project currently under way, Organ contacted the German restorers about his find. The New Zealand print contained eleven missing scenes and featured some brief pieces of footage that were used to restore damaged sections of the Argentine print. It is believed that the Australian, New Zealand and Argentine prints were all scored from the same master. The newly discovered footage was used in the restoration project.[31] The Argentine print was in poor condition and required considerable restoration before it was re-premiered in February 2010. Two short sequences from the film, depicting a monk preaching in the cathedral and a fight between Rotwang and Fredersen, were in extremely poor condition and could not be salvaged.[citation needed]
Copyright issues[edit]
The American copyright had lapsed in 1953, which eventually led to a proliferation of versions being released on video. Along with other foreign-made works, the film's U.S. copyright was restored in 1998,[32] but the constitutionality of this copyright extension was challenged in Golan v. Gonzales and as Golan v. Holder it was ruled that "In the United States, that body of law includes the bedrock principle that works in the public domain remain in the public domain. Removing works from the public domain violated Plaintiffs' vested First Amendment interests."[33] This only applied to the rights of so-called reliance parties, i.e. parties who had previously relied on the public domain status of restored works. The case was overturned on appeal to the Tenth Circuit[34] and that decision was upheld by the US Supreme Court on January 18, 2012. This had the effect of restoring the copyright in the work as of January 1, 1996. Under current US copyright law, it remains copyrighted until January 1, 2023.
Music[edit]
Original score[edit]
Metropolis' original film score was composed for large orchestra by Gottfried Huppertz. Huppertz drew inspiration from Richard Wagner and Richard Strauss, and combined a classical orchestral voice with mild modernist touches to portray the film's massive industrial city of workers. Nestled within the original score were quotations of Claude Joseph Rouget de Lisle's "La Marseillaise" and the traditional "Dies Irae," the latter of which was matched to the film's apocalyptic imagery. Huppertz's music played a prominent role during the film's production; oftentimes, the composer played piano on Lang's set in order to inform the actors' performances.
The score was rerecorded for the 2001 DVD release of the film with Berndt Heller conducting the Rundfunksinfonieorchester Saarbrücken. It was the first release of the reasonably reconstructed movie to be accompanied by Huppertz's original score. In 2007, Huppertz's score was also played live by the VCS Radio Symphony, which accompanied the restored version of the film at Brenden Theatres in Vacaville, California.[35] The score was also produced in a salon orchestration, which was performed for the first time in the United States in August 2007 by The Bijou Orchestra under the direction of Leo Najar as part of a German Expressionist film festival in Bay City, Michigan.[36] The same forces also performed the work at the Traverse City Film Festival in Traverse City, Michigan in August 2009.[37]
For the 2010 reconstruction DVD, the score was performed and recorded by the Berlin Radio Symphony Orchestra, conducted by Frank Strobel.[38] Strobel also conducted the premiere of the reconstructed score at Berlin Friedrichstadtpalast.
Other soundtracks[edit]
There have been many other soundtracks created for Metropolis by different artists, including, but not limited to:
1975 – The BBC version of Metropolis features an electronic score composed by William Fitzwater and Hugh Davies.[39]
1984 – Giorgio Moroder restored and produced the 80-minute 1984 re-release, which had a pop soundtrack written by Moroder and performed by Moroder, Pat Benatar, Bonnie Tyler, Jon Anderson, Adam Ant, Cycle V, Loverboy, Billy Squier, and Freddie Mercury.
1991 – The Club Foot Orchestra created an original score that was performed live with the film. It was also recorded for CD.
2000 – Jeff Mills created a techno score for Metropolis which was released as an album. He also performed the score live at public screenings of the film.
2004 – Abel Korzeniowski created a score for Metropolis played live by a 90-piece orchestra and a choir of 60 voices and two soloists. The first performance took place at the Era Nowe Horyzonty Film Festival in Poland.
2004 – Ronnie Cramer produced a score and effects soundtrack for Metropolis that won two Aurora awards.[40]
2005/2011 – The New Pollutants (Mister Speed and DJ Tr!p) performed Metropolis Rescore live for festivals since 2005[41] and are rescoring to the 2010 version of the film for premiere at the Adelaide Film Festival 2011.[42]
2010 – The Alloy Orchestra has scored four different versions of the film, most recently for the American premiere of the 2010 restoration.
Adaptations[edit]
Several adaptations have been made of the original Metropolis, including at a 1989 musical theatre adaptation, Metropolis.
The 2001 animated film Metropolis, is based on an original manga by Osamu Tezuka, which is loosely based on the film, though Tezuka claims he had not seen the film at the time.
In December 2007, producer Thomas Schühly (Alexander, The Adventures of Baron Munchausen) gained the remake rights to Metropolis, but it is still unknown if the remake is in production.[43]
Some scenes from the film were featured in the music video for Queen's 1984 hit "Radio Ga Ga".
The 1999 music video for "We're in This Together" by Nine Inch Nails is heavily influenced by the film.
Whitney Houston's music video "Queen of the Night" includes clips from the film as well as Houston wearing a shiny metallic ensemble resembling Maschinenmensch.
Madonna's music video for "Express Yourself" pays homage to the film.
Janelle Monáe based both her concept albums on the original film including her EP, Metropolis: Suite I (The Chase) released mid-2007 and The ArchAndroid released in 2009. The latter also included an homage to Metropolis on the album cover, with the film version of the Tower of Babel among the remainder of the city. The albums follow the adventures of Monáe's alter-ego and robot, Cindi Mayweather, as an messianic figure to the android community of Metropolis.
Australian pop star Kylie Minogue has also paid homage to the film in two of her concert tours, KylieFever2002 and KylieX2008.
A short clip from the film was shown in the music video for System of a Down's "Sugar".
In 2013, the Swedish post-metal band Cult of Luna released an album, Vertikal, based thematically on the film.
In late 2012 and subsequently into early 2013, California based electronic musicians The M Machine released "Metropolis Pt. 1" and "Metropolis Pt. 2", a two part album based on themes and storylines from both the original adaptation and also from the Giorgio Moroder's musical reworking.
The music video for UK punk rock band UFX' 2013 "Crack" remaster uses several sections of the film edited together, including the transformation of the robot into Maria’s double, Freder's nightmarish visions and the robot Maria's dance.
The 2013 music video for "In Service of Time" by the American death metal band Abysmal Dawn displays heavy aesthetic and thematic influences from the film.
Pop singer-songwriter Lady Gaga has made a series of references to Lang's film within her music videos. Visual allusions to the film are noted most predominantly in her music videos for Alejandro, Born this Way and as of recent Applause.[44]
Awards and honors [edit]
Ranked No. 12 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.[45] It was ranked number 2 in a list of the 100 greatest films of the Silent Era.[46]
The 2002 version awarded the "New York Film Critics Circle Awards" "Special Award" to Kino International for the restoration.[47]
In 2012, in correspondence with the Sight & Sound Poll, the British Film Institute called ″Metropolis″ the 35th greatest film of all time.[48]
See also[edit]

Portal icon 1920s portal
List of dystopian films
List of films featuring surveillance
List of films in the public domain in the United States
List of German films 1919–1933
List of most expensive non-English language films
List of rediscovered films
References[edit]
Notes
1.Jump up ^ Kreimeier, Klaus (1999). The Ufa story: a history of Germany's greatest film company, 1918–1945. Berkeley: University of California Press. p. 156. ISBN 0-520-22069-2.
2.Jump up ^ SciFi Film History - Metropolis (1927) - Although the first science fiction film is generally agreed to be Georges Méliès' A Trip To The Moon (1902), Metropolis (1926) is the first feature length outing of the genre. (scififilmhistory.com, retrieved 15 May 2013)
3.Jump up ^ Hahn, Ronald M. / Jansen, Volker: Die 100 besten Kultfilme. Heyne Filmbibliothek, München 1998, ISBN 3-453-86073-X, S. 396 (German)
4.Jump up ^ "Total Sci-Fi Online". Time Tunnel: Metropolis.
5.Jump up ^ "METROPOLIS -Sicherungsstück Nr. 1: Negative of the restored and reconstructed version 2001". UNESCO Memory of the World Programme. 14 May 2008. Retrieved 14 December 2009.
6.Jump up ^ Bukatman, Scott. Blade Runner. BFI modern classics. London: British Film Institute, 1997. ISBN 0-85170-623-1. p. 62–63.
7.Jump up ^ Lang(2003)
8.Jump up ^ Hoesterey (2001)
9.Jump up ^ Russell (2007)
10.^ Jump up to: a b c Minden(2002)
11.^ Jump up to: a b c Miller, Frank. "METROPOLIS". Turner Classic Movies. Turner Entertainment Networks. Archived from the original on 23 February 2012. Retrieved 23 February 2012.
12.Jump up ^ Helm, Brigitte (15 May 2010). The Maria of the Underworld, of Yoshiwara, and I. In French, Lawrence. "The Making of Metropolis: Actress Brigitte Helm". Cinefantastique. Cinefantastique Online. Archived from the original on 23 February 2012. Retrieved 23 February 2012.
13.Jump up ^ Mok, Michel (May 1930). "New Ideas Sweep Movie Studios". Popular Science (Popular Science Publishing) 116 (5): pp. 22–24, 143–145. ISSN 0161-7370. From page 143, "Metropolis, the German film which a few years ago attracted international attention chiefly because of its futuristic sets that appeared in gigantic proportions on the screen, employed tiny models and the Schufftan method."
14.Jump up ^ Cock, Matthew (25 August 2011). "Hitchcock’s Blackmail and the British Museum: film, technology and magic". The British Museum. Archived from the original on 23 February 2012. Retrieved 23 February 2012.
15.Jump up ^ Schulze-Mittendorff, Bertina (June 2011). "1. The Metropolis Robot – Its Creation". Archived from the original on 16 February 2012. Retrieved 16 February 2012.
16.Jump up ^ Patrick McGilligan (1997). Fritz Lang: The Nature of the Beast. New York: St. Martin's Press. pp. 115–116. ISBN 9780312132477.
17.^ Jump up to: a b c Fernando Martín, Peña (2010). "Metropolis Found". fipresci. Archived from the original on 23 February 2012. Retrieved 23 February 2012.
18.Jump up ^ Metropolis (Transit-Universum Film PAL Region 2 vs. Film sans Frontières PAL Region 2)
19.Jump up ^ "H.G. Wells' review". Erkelzaar.tsudao.com. Retrieved 10 January 2012.
20.Jump up ^ Schoenbaum, David (1997). Hitler's Social Revolution: Class and Status in Nazi Germany 1933–1939. London: WW Norton and Company. p. 25. ISBN 0-393-31554-1.
21.Jump up ^ http://books.google.com/books/about/Roger_Ebert_s_Movie_home_companion.html?id=clLhkwBlA_8C; Metropolis; at p. 209
22.Jump up ^ Metropolis - Rotten Tomatoes
23.Jump up ^ "About Metropolis". Archived from the original on 9 August 2007. Retrieved 25 January 2007.
24.Jump up ^ Wilson, John (2005). The Official Razzie Movie Guide: Enjoying the Best of Hollywood's Worst. Grand Central Publishing. ISBN 0-446-69334-0.
25.Jump up ^ Rock Version of Silent Film Classic 'Metropolis' to Hit Theatres This Fall
26.Jump up ^ Lorenzo Codelli: Entretien avec Enno Patalas, conservateur de la cinémathèque de Munich, sur Metropolis et quelques autres films de Fritz Lang. In: Positif n° 285, (novembre 1984), pp. 15 sqq.
27.Jump up ^ Museos de Buenos Aires, Buenos Aires Ciudad
28.Jump up ^ Lost scenes of 'Metropolis' discovered in Argentina, The Local, 2 July 2008
29.Jump up ^ "Key scenes rediscovered", Zeit online, 2 July 2008.
30.Jump up ^ "Fritz Lang's Metropolis: Key scenes rediscovered". Die Zeit. 2 July 2008. Retrieved 28 August 2009.
31.Jump up ^ Steve Pennells (14 February 2010). "Cinema's Holy Grail". Sunday Star Times (New Zealand). p. C5.
32.Jump up ^ "Golan v. Ashcroft". Cyber.law.harvard.edu. Retrieved 6 March 2010.
33.Jump up ^ "DigitalKoans » Blog Archive » Public Domain Victory in Golan v. Holder". Digital-scholarship.org. 5 April 2009. Retrieved 10 January 2012.
34.Jump up ^ Golan v. Holder, June 21, 2010.
35.Jump up ^ The Reporter, VCS to play live film score at screening review. 25 July 2007.
36.Jump up ^ My Bay City.com 'Metropolis – (with The Bijou Orchestra) 11 August 2007 at 7:00 pm",
37.Jump up ^ Traverse City Record Eagle 'Film Festival Outtakes 8/03/09
38.Jump up ^ DVD details of the 2010 reconstructed version
39.Jump up ^ "Hugh Davies – Electronic Music Studios in Britain: Goldsmiths, University of London". Gold.ac.uk. Retrieved 10 January 2012.
40.Jump up ^ "RONNIE CRAMER Artist/Musician/Filmmaker". Cramer.org. Retrieved 10 January 2012.
41.Jump up ^ "The New Pollutants Interview for Mona Foma 2010". Themercury.com.au. 7 January 2011. Retrieved 10 January 2012.
42.Jump up ^ "The New Pollutants @ 2011 Adelaide Film Festival". Tix.adelaidefilmfestival.org. Retrieved 10 January 2012.
43.Jump up ^ Ed Meza (9 December 2007). "'Metropolis' finds new life". Variety. Retrieved 10 December 2007.
44.Jump up ^ Zafir, Aylin. "Every Cultural Reference You Probably Didn't Catch in Lady Gaga's new video". Buzzfeed. Retrieved 24 August 2013.
45.Jump up ^ "The 100 Best Films Of World Cinema | 12. Metropolis". Empire.
46.Jump up ^ "100 Greatest Films of the Silent Era". Silent Era. Retrieved 27 October 2011.
47.Jump up ^ Awards for metropolis. (n.d.). Retrieved from http://www.imdb.com/title/tt0017136/awards
48.Jump up ^ "The Top 50 Greatest Films of All Time". Sight & Sound September 2012 issue. British Film Institute. 1 August 2012. Retrieved 2012-12-19.
Bibliography
Minden, Michael; Bachmann, Holger (2002). Fritz Lang's Metropolis: Cinematic Visions of Technology and Fear. New York: Camden House. ISBN 978-1-57113-146-1.
Hoesterey, Ingeborg (2001). Pastiche: cultural memory in art, film, literature. Indiana: Indiana University Press. ISBN 978-0-253-21445-4.
Russell, Tim (2007). Fill 'er Up!: The Great American Gas Station. Minneapolis: Voyageur Press. ISBN 978-0-7603-2871-2.
Lang, Fritz; Grant, Barry Keith (2003). Fritz Lang: interviews. Mississippi: Univ. Press of Mississippi. ISBN 978-1-57806-577-6.
External links[edit]
 Wikimedia Commons has media related to Metropolis (film).
The official Friedrich-Wilhelm-Murnau-Stiftung site for the complete restoration
The official Eureka/Masters of Cinema (UK) site for the complete restoration
The official Kino (US) site for the complete restoration
Metropolis at the Internet Movie Database
Metropolis at Metacritic
Metropolis at Rotten Tomatoes
Michael Organ, The Metropolis Archive 2011
Movie stills and literature on Metropolis
Original programme for the British premiere of Metropolis in 1927





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The Cabinet of Dr. Caligari
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This article is about the 1920 film. For other uses, see The Cabinet of Dr. Caligari (disambiguation).

The Cabinet of Dr. Caligari
CABINETOFDRCALIGARI-poster.jpg
Directed by
Robert Wiene
Produced by
Rudolf Meinert
Erich Pommer
Written by
Hans Janowitz
Carl Mayer
Starring
Werner Krauss
Conrad Veidt
 Friedrich Fehér
Lil Dagover
Hans Twardowski
Music by
Giuseppe Becce
Cinematography
Willy Hameister
Distributed by
Decla-Bioscop (Germany)
Goldwyn Distributing Company (US)
Release dates
26 February 1920 (Germany)

Running time
71 minutes
Country
Weimar Republic
Language
Silent film
German intertitles
Budget
DEM 20,000 (estimated)
The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film directed by Robert Wiene from a screenplay by Hans Janowitz and Carl Mayer. It is one of the most influential films of the German Expressionist movement and is often considered to be one of the greatest horror films of the silent era in film.
The film used stylized sets, with abstract, jagged buildings painted on canvas backdrops and flats. To add to this strange style, the actors used an unrealistic technique that exhibited "jerky" and dance-like movements.
This film is cited as having introduced the 'twist' ending in cinema.
The premiere of a digitally restored version of the film is scheduled to take place at the 64th Berlin International Film Festival in February 2014.[1]


Contents  [hide]
1 Plot
2 Cast 2.1 Uncredited
3 Development
4 Production
5 Reception
6 Sequel
7 Adaptations and musical works inspired by the film
8 Comic books
9 Musical references
10 See also
11 Notes
12 Further reading
13 References
14 External links

Plot[edit]



 Still from the film.
The main narrative is introduced using a frame story in which most of the plot is presented as a flashback, as told by the protagonist, Francis (one of the earliest examples of a frame story in film).
Francis (Friedrich Fehér) and an elderly companion are sharing stories when a seemingly distracted woman, Jane (Lil Dagover), passes by. Francis calls her his betrothed and narrates an interesting tale that he and Jane share.
Francis begins his story with himself and his friend Alan (Hans Heinrich von Twardowski), who are both good-naturedly competing to be married to the lovely Jane. The two friends visit a carnival in their German mountain village of Holstenwall. They encounter the captivating Dr. Caligari (Werner Krauss) and a near-silent somnambulist, Cesare (Conrad Veidt), whom the doctor keeps asleep in a coffin-like cabinet, controls hypnotically, and is displaying as an attraction. Caligari hawks that Cesare's continuous sleeping state allows him to know the answer to any question about the future. When Alan asks Cesare how long he shall live, then Cesare bluntly replies that Alan shall die at dawn — a prophecy which is fulfilled. Alan's violent death at the hands of some shadowy figure becomes the most recent in a series of mysterious murders in Holstenwall.
Francis and Jane (to whom he is now officially engaged) investigate Caligari and Cesare. Doctor Caligari finds out and orders Cesare to murder Jane. He very nearly succeeds, suggesting to Francis that Cesare and his master Caligari are indeed responsible for the recent homicides. Thanks to Jane's ethereal beauty, however, Cesare finds himself unable to stab her to death and settles for kidnapping her instead. In hot pursuit by the townsfolk, Cesare finally releases Jane as he falls over from exhaustion and dies.
In the meantime, Francis goes to Holstenwall's local insane asylum to ask if there has ever been a patient there by the name of Caligari, only to be shocked to discover that Caligari is the asylum's director. With the help of some of Caligari's oblivious colleagues at the asylum, Francis discovers through old records that the man known as "Dr. Caligari" is obsessed with the story of a mythical monk called Caligari, who in 1093 visited towns in northern Italy and, in a similar manner, used a somnambulist under his control to kill people. Dr. Caligari, insanely driven to see if such a situation could actually occur, deemed himself "Caligari" and has since successfully carried out his string of proxy murders. Francis and the asylum's other doctors send the authorities to Caligari's office. Caligari reveals his lunacy only when he understands that his beloved slave, Cesare, has died; Caligari then becomes an inmate in his own asylum.
The narrative returns to the present moment, with Francis concluding his tale. A twist ending reveals that Francis' flashback, however, is actually his fantasy. He and Jane and Cesare are all in fact inmates of the insane asylum. The man whom he claims to be "Caligari" is actually his asylum doctor. Francis goes berserk and is put in a straitjacket and consigned to the very same cell as was the imaginary Dr. Caligari. His doctor says that since the delusional source of his patient's dementia has been revealed he shall now be able to cure poor Francis.
Cast[edit]
Werner Krauss as Dr. Caligari
Conrad Veidt as Cesare
Friedrich Fehér as Francis
Lil Dagover as Jane Olsen
Hans Heinrich von Twardowski as Alan
Rudolf Lettinger as Dr. Olsen
Uncredited[edit]
Rudolf Klein-Rogge as Criminal
Hans Lanser-Rudolf as Old man
Henri Peters-Arnolds as Young doctor
Ludwig Rex as Murderer
Elsa Wagner as Landlady
Development[edit]
Writers Hans Janowitz and Carl Mayer first met in Berlin soon after World War I. The two men considered the new film medium as a new type of artistic expression – visual storytelling that necessitated collaboration between writers and painters, cameramen, actors, directors. They felt that film was the ideal medium through which to both call attention to the emerging pacifism in postwar Germany and exhibit radical anti-bourgeois art.[2]
Although neither had associations with any Berlin film company, they decided to develop a plot. As both were enthusiastic about Paul Wegener's works, they chose to write a horror film. The duo drew from past experiences. Janowitz had disturbing memories of a night during 1913, in Hamburg. After leaving a fair he had walked into a park bordering the Holstenwall and glimpsed a stranger as he disappeared into the shadows after having mysteriously emerged from the bushes. The next morning, a young woman's ravaged body was found. Mayer was still angered about his sessions during the war with an autocratic, highly ranked, military psychiatrist.[2]
At night, Janowitz and Mayer often went to a nearby fair. One evening, they saw a sideshow "Man and Machine", in which a man did feats of strength and predicted the future while supposedly in a hypnotic trance. Inspired by this, Janowitz and Mayer devised their story that night and wrote it in the following six weeks. The name "Caligari" came from a book Mayer had read, in which an officer named Caligari was mentioned.[2]
When the duo approached producer Erich Pommer about the story, Pommer tried to have them thrown out of his small Decla-Bioscop studio. But when they insisted on telling him their film story, Pommer was so impressed that he bought it on the spot, and agreed to have the film produced in expressionistic style, partly as a concession to his studio only having a limited quota of power and light.[2]
Production[edit]



 Lobby Card of Doctors examining Cesare
Pommer put Caligari in the hands of designer Hermann Warm and painters Walter Reimann and Walter Röhrig, whom he had met as a soldier while painting sets for a German military theater. When Pommer began to have second thoughts about how the film should be designed, they had to convince him that it made sense to paint lights and shadows directly on set walls, floors, background canvases and to place flat sets behind the actors.[2]
Pommer first approached Fritz Lang to direct this film, but Lang was committed to work on Die Spinnen (The Spiders),[2] so Pommer gave directorial duties to Robert Wiene. Wiene filmed a test scene to prove Warm, Reimann, and Röhrig's theories, and it was so impressive that Pommer gave his artists free rein. Janowitz, Mayer, and Wiene would later use the same artistic methods on another production, Genuine, which was less successful commercially and critically.[2]
The producers, who wanted a less macabre ending, imposed upon the director the idea that everything turns out to be Francis's delusion. In so doing, they produced the first cinematographic representation of altered mental states.[3]
The original story made it clear that Caligari and Cesare were real and were responsible for a number of deaths.[4]
Filming took place during December 1919 and January 1920. The film premiered at the Marmorhaus in Berlin on February 26, 1920.[5]
Reception[edit]
The Cabinet of Dr. Caligari is considered by many critics to be one of the best films ever made and one of the greatest horror films of the silent period, and holds a very rare 100 % rating on Rotten Tomatoes based on 37 reviews.[6] The film had a profound influence on later filmmakers in creating atmosphere in their films. Critics worldwide have praised the film for its Expressionist style, complete with wild, distorted set design. Caligari has been cited as an influence on Film noir, one of the earliest horror films, and a model for directors for many decades.
Upton Sinclair wrote They Call Me Carpenter in 1922. This book began with a crowd of people trying to keep Americans from seeing "Caligari" because this story of a "madman" didn't serve the purpose of art, morality. His question was whether art was to serve morality or if art exists for "art's sake."[7]
Siegfried Kracauer's From Caligari to Hitler (1947) postulates that the film can be considered as an allegory for German social attitudes in the period following World War I. He argues that the character of Caligari represents a tyrannical figure, to whom the only alternative is social chaos (represented by the fairground).[8]
However, in Weimar Cinema and After, Thomas Elsaesser describes the legacy of Kracauer's work as a "historical imaginary".[9] Elsaesser argues that Kracauer had not studied enough films to make his thesis about the social mindset of Germany legitimate and that the discovery and publication of the original screenplay of The Cabinet of Dr. Caligari undermines his argument about the revolutionary intent of its writers. Elsaesser's alternative thesis is that the filmmakers adopted an Expressionist style as a method of product differentiation, establishing a distinct national product against the increasing importation of American films. Dietrich Scheunemann, somewhat in defense of Kracauer, noted that he did not have "the full range of materials at (his) disposal". However, that fact "has clearly and adversely affected the discussion of the film", referring to the fact that the script of Caligari was not rediscovered until 1977 and that Kracauer hadn't seen the film for around 20 years when he wrote the work.[10]
Sequel[edit]
There was a sequel of sorts, in 1989, with the film Dr. Caligari. It dealt with the granddaughter of the original Dr. Caligari and her illegal experiments on her patients in an asylum. Its tone, look, and feel held similarities to the original film, but was more influenced by the works of David Lynch and David Cronenberg than of the German Expressionists. The sequel was well received.[citation needed]
Adaptations and musical works inspired by the film[edit]
In 1962, a British version very loosely based on the film was made called The Cabinet of Caligari with a script by Robert Bloch, the author of Psycho.
In 1991, the film was loosely remade as The Cabinet of Dr. Ramirez by director and writer Peter Sellars. The production included significant development during filming, leading the primary actors to also receive writing credits (Mikhail Baryshnikov, who played "Cesar"; Joan Cusack, who played "Cathy"; Peter Gallagher, who played "Matt", and Ron Vawter, who played "Dr. Ramirez"). This remake was an experimental film that was screened only at the 1992 Sundance Film Festival and never theatrically released.[11]
The film was adapted into an opera in 1997 by composer John Moran. The Cabinet of Dr. Caligari premiered at the American Repertory Theater in Cambridge, Massachusetts, in a production by Robert McGrath.[12] Numerous musicians have composed new musical scores to accompany the film. The Club Foot Orchestra premiered the score penned by ensemble founder and artistic director Richard Marriott in 1987.[13] In 2000, the Israeli Electronica group TaaPet made several live performances of their soundtrack for the film around Israel.[14]
In 1981, Bill Nelson was asked by the Yorkshire Actors Company to create a soundtrack for a stage adaptation of the movie. That music was later recorded for his 1982 album Das Kabinet (The Cabinet Of Doctor Caligari).[15]
The 2005 American remake The Cabinet of Dr. Caligari was directed by David Lee Fisher.
There is strong influence of The Cabinet of Dr. Caligari on the concept of the 2009 fantasy film The Imaginarium of Dr. Parnassus, by Terry Gilliam as well as on the book Shutter Island by Dennis Lehane, on which the eponymous movie by Martin Scorsese is based.[16]
In 2012, the Chatterbox Audio Theatre recorded a live soundtrack, including dialog, sound effects, and music, for the classic silent film. The movie, with this soundtrack, was released on YouTube on October 30, 2013.[17]
Theatre company Simple8 adapted the play for the stage in 2013
Comic books[edit]
Jean-Marc Lofficier wrote Superman's Metropolis, a trilogy of graphic novels for DC Comics illustrated by Ted McKeever, the second of which was entitled Batman: Nosferatu, most of the plot derived from The Cabinet of Dr. Caligari. Caligari himself appears as a member of Die Zwielichthelden (The Twilight Heroes), a German mercenary group in The League of Extraordinary Gentlemen: Black Dossier by Alan Moore and Kevin O'Neill. Also, in The Sandman issue "Calliope" written by Neil Gaiman and pencilled by Kelley Jones, a character, Richard Madoc, writes a book "The Cabaret of Dr. Caligari", an obvious pseudonym.
Musical references[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2010)
The name 'Caligari' has been used extensively in popular music. Pere Ubu has a song entitled "Caligari's Mirror". Goth rock group Bauhaus used a still of Cesare from the film on early t-shirts for their popular single "Bela Lugosi's Dead". The band Abney Park has a cut "The Secret Life of Dr. Calgari" on their album Lost Horizons (released 2008). There is also a Japanese rock band that has called itself after the film, Cali Gari.
The 1998 music video for Rob Zombie's single "Living Dead Girl" restaged several scenes from the film, with Zombie in the role of Caligari beckoning to the fair attendees. In addition to artificially imitating the poor image quality of aged film, the video also made use of the expressionistic sepia, aqua, and violet tinting used in Caligari. The film also inspired imagery in the video for "Forsaken" (2002), from the soundtrack for the film Queen of the Damned.
Hard rock group Rainbow used the film as inspiration for the music video to "Can't Let You Go", a single from their 1983 album Bent Out Of Shape, vocalist Joe Lynn Turner being made up as Cesare. The director was Dominic Orlando. The video for the song "Otherside" by the Red Hot Chili Peppers off the album Californication, briefly used the film as a reference to its visuals.
There is also a Spanish pop-rock band named Gabinete Caligari, which seems to be named after the movie.
See also[edit]
 Wikimedia Commons has media related to Das Cabinet des Dr. Caligari.
List of German films 1919-1933
List of films in the public domain in the United States
Notes[edit]
1.Jump up ^ "Berlinale Classics: Restoration of Das Cabinet des Dr. Caligari". berlinale.de. Retrieved 15 December 2013.
2.^ Jump up to: a b c d e f g Peary, Danny (1988). Cult Movies 3. New York: Simon & Schuster Inc. pp. 48–51. ISBN 0-671-64810-1.
3.Jump up ^ Giannini, A. J. (1999).
4.Jump up ^ White, Rob; Buscombe, Edward (2003). British Film Institute film classics 1. Routledge. pp. 2–4. ISBN 1-57958-328-8.
5.Jump up ^ Robinson, David (1997). Das Cabinet Des Dr. Caligari. British Film Institute. p. 47.
6.Jump up ^ "The Cabinet of Dr. Caligari". Rotten Tomatoes. Retrieved 25 January 2014.
7.Jump up ^ They Call me Carpenter Gutenberg -- They Call me Carpenter Librivox
8.Jump up ^ Kracauer, Siegfried (2004 edition; 1947, original English translation). From Caligari to Hitler: A Psychological History of the German Film. Princeton University Press.
9.Jump up ^ Elsaesser, Thomas (2000). Weimar Cinema and After: Germany's Historical Imaginary. Routledge.
10.Jump up ^ Scheunemann, Dietrich (2003). "The Double, the Decor, the Framing Device: Once More on Robert Weine's The Cabinet of Dr. Caligari". In Scheunemann, Dietrich. Expressionist Films: New Perspectives. Routledge. p. 128. ISBN 1-57113-068-3.
11.Jump up ^ "The Cabinet of Dr. Ramirez | Archives | Sundance Institute". History.sundance.org. Retrieved 2012-08-15.
12.Jump up ^ The Cabinet of Dr. Caligari multimedia theatre piece.
13.Jump up ^ "The Cabinet of Dr Caligari". Club Foot Orchestra. 1987-10-17. Retrieved 2012-08-15.
14.Jump up ^ "TaaPet.com". TaaPet.com. Retrieved 2012-08-15.
15.Jump up ^ Pete Prown; Harvey P. Newquist (1997). Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists. Hal Leonard. p. 87. ISBN 0793540429.
16.Jump up ^ Kung, Michelle (February 19, 2010). "The Author Who Aced Hollywood". Wall Street Journal. Retrieved 2 October 2013. "He was shocked that I'd never seen the "Cabinet of Dr. Caligari," which he was sure was an influence"
17.Jump up ^ "Chatterbox Audio Theater Releases Live THE CABINET OF DR. CALIGARI Recording". Memphis Flyer. Retrieved 2013-11-10.
Further reading[edit]
Budd, Mike (editor) (1990) The Cabinet of Dr. Caligari: Texts, Contexts, Histories Rutgers University Press, New Brunswick, New Jersey, ISBN 0-8135-1570-X
Eisner, Lotte H. (1969) The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt (translated from the French by Roger Greaves) University of California Press, Berkeley, California, OCLC 651180268 ISBN 978-0-520-25790-0
Hantke, Steffen (editor) (2006) Caligari's Heirs: The German Cinema of Fear after 1945 Scarecrow Press, Lanham, Maryland, ISBN 0-8108-5878-9
Robinson, David (1997) Das Cabinet des Dr. Caligari British Film Institute Publishing, London, ISBN 0-85170-645-2
Wiene, Robert; Mayer, Carl and Janowitz, Hans (1984) The Cabinet of Dr. Caligari: A Film (revised edition, translated from German by R. V. Adkinson) Lorrimer, London, ISBN 0-85647-084-8
References[edit]
Thompson, Kristin, and David Bordwell. Film History, An Introduction. New York: McGraw-Hill Humanities/Social Sciences/Languages, 2010. 92,93. Print. ISBN 978-0-07-338613-3
External links[edit]
From Caligari to Hitler - A philosophical analysis of the Cabinet of Dr Caligari, by Siegfried Kracauer.
The Cabinet of Dr. Caligari at the Internet Movie Database
The Cabinet of Dr. Caligari at Rotten Tomatoes
The Cabinet of Dr. Caligari is available for free download at the Internet Archive [more]
The Cabinet of Dr. Caligari at allmovie
An Article on The Cabinet of Dr.Caligari published at BrokenProjector.com
Transcription on Aellea Classic Movie Scripts.
The Cabinet of Dr. Caligari - summary of the plot.
Das Kabinett des Doktor Caligari (1920) - review
Paquin, Alexandre (2001-05-15). "Caligari: A German Silent Masterpiece". Archived from the original on 2006-10-20. - review
'The Cabinet of Dr. Caligari (1920)' on YouTube
The Cabinet of Dr. Caligari - Chatterbox Soundtrack on YouTube


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Memento (film)
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Memento
Memento poster.jpg
Theatrical release poster, demonstrating the Droste effect

Directed by
Christopher Nolan
Produced by
Jennifer Todd
Suzanne Todd
Screenplay by
Christopher Nolan
Based on
"Memento Mori"
 by Jonathan Nolan
Starring
Guy Pearce
Carrie-Anne Moss
Joe Pantoliano
Music by
David Julyan
Cinematography
Wally Pfister
Editing by
Dody Dorn
Studio
Newmarket Films
Team Todd
Distributed by
Summit Entertainment
Release dates
September 5, 2000 (Venice)
October 20, 2000 (United Kingdom)
March 16, 2001 (United States)

Running time
113 minutes[1]
Country
United States
Language
English
Budget
$5 million[2]
Box office
$40 million[3]
Memento is a 2000 American neo-noir psychological thriller film written and directed by Christopher Nolan, adapted from his younger brother Jonathan Nolan's short story "Memento Mori".
Memento is presented as two different sequences of scenes: a series in black-and-white that is shown chronologically, and a series of color sequences shown in reverse order. The two sequences "meet" at the end of the film, producing one common story.[4] It stars Guy Pearce as Leonard Shelby, a man with anterograde amnesia, which impairs his ability to store new explicit memories, who has developed a system for recollection using hand-written notes, tattoos, and Polaroid photos. During the opening credits, which portray the end of the story, it is shown that Leonard kills Teddy (Joe Pantoliano). The film suggests that this killing is vengeance for the rape and murder of his wife (Jorja Fox) based on information provided by Natalie (Carrie-Anne Moss).
Memento premiered on September 5, 2000, at the Venice International Film Festival to critical acclaim and received a similar response when it was released in European theaters starting in October 2000. Critics especially praised its unique, nonlinear narrative structure and motifs of memory, perception, grief, self-deception, and revenge. The film was successful at the box office and received numerous accolades, including Academy Award nominations for Original Screenplay and Film Editing.[5] The film subsequently was named as one of the best films of the 2000s decade by several media outlets, and has since appeared in several critics' best lists.


Contents  [hide]
1 Plot
2 Cast
3 Film structure
4 Production 4.1 Development
4.2 Casting
4.3 Filming
4.4 Music
5 Release 5.1 Marketing
5.2 Home media
6 Reception 6.1 Critical response
6.2 Scientific response
6.3 Best film list appearances
7 See also
8 References
9 External links

Plot[edit]
A backwards sequence is shown. It starts with the Polaroid photograph of a dead man. As the sequence plays backwards the photo reverts to its undeveloped state, entering the camera before the man is shot in the head. This is followed by interspersed black-and-white and color sequences, with the black-and-white sequences taking place chronologically before the color sequences.
The black-and-white sequences begin with Leonard Shelby in a motel room speaking to an unnamed telephone caller who is not shown on-screen. Leonard has anterograde amnesia and is unable to store recent memories, the result of an attack by two men. Leonard explains that he killed the attacker who raped and strangled his wife, but a second clubbed him and escaped. The police did not accept there was a second attacker, but Leonard believes the attacker's name is John, with a last name starting with G. Leonard conducts his own investigation using a system of notes, Polaroid photos, and tattoos. As an insurance investigator, Leonard recalls one Sammy Jankis, also diagnosed with the same condition. Sammy's diabetic wife, who was not sure if his condition was genuine, repeatedly requested insulin injections to try to get him to break his act. He did not and as a result she fell into a coma and died.
The color sequences are shown in reverse chronological order. Leonard gets a tattoo, based on instructions to himself, of the license plate of John G. Finding a note in his clothes, he meets Natalie, a bartender who resents Leonard as he wears the clothes and drives the car of her boyfriend, Jimmy. After understanding his condition, she uses it to get Leonard to drive a man named Dodd out of town and offers to run the license plate to help his investigation. Meanwhile, Leonard meets with a contact, Teddy. Teddy helps with Dodd, but warns him about Natalie; however, Leonard has written on a photo of Teddy to not trust him. Natalie provides Leonard the driver's license, which shows a John Edward Gammell, Teddy's full name. Confirming Leonard's information on "John G" and his warnings, Leonard meets Teddy and drives him to an abandoned building, killing him as shown in the opening.
In the final black-and-white sequence, prompted by the caller, Leonard meets Teddy in the motel lobby. Teddy is an undercover officer and has found Leonard's "John G", Natalie’s boyfriend Jimmy Grantz, and directs Leonard to the same abandoned building outside of town. When Jimmy arrives, Leonard strangles him and takes a photo of the body. As it develops the black-and-white transitions to color, thus beginning the color sequences. Leonard swaps clothes with Jimmy, hearing Jimmy whisper "Sammy". As Leonard has only told the story of Sammy to those he has met, he doubts Jimmy is the attacker. Teddy arrives and asserts that Jimmy was John G but when Leonard is not convinced, Teddy reveals that together they had already found and Leonard had killed the real attacker over a year ago. Teddy claims that Leonard confused elements of his life with that of Sammy, who was a con man with no wife. Leonard's wife was diabetic, had survived the attack and was the one who died in the insulin overdose. Teddy accuses Leonard of creating an unsolvable puzzle to give himself purpose and since "John G" is a common name, he will continually forget, beginning his search again and that even Teddy himself has a "John G" name. After hearing Teddy's exposition, Leonard consciously burns the photograph of Jimmy's body, drives off in Jimmy's car and has Teddy's license plate number tattooed on himself as the one of the second attacker, which will lead to the events of Teddy's death.
Cast[edit]
Guy Pearce as Leonard Shelby
Carrie-Anne Moss as Natalie
Joe Pantoliano as Teddy (John Edward Gammell)
Mark Boone Junior as Burt
Russ Fega as Waiter
Jorja Fox as Leonard's Wife
Stephen Tobolowsky as Sammy (Samuel R. Jankis)
Harriet Sansom Harris as Mrs. Jankis
Thomas Lennon as Doctor
Callum Keith Rennie as Dodd
Kimberly Campbell as Blonde
Marianne Muellerleile as Tattooist
Larry Holden as Jimmy (James F. Grantz)
Film structure[edit]



Fabula/Story vs Sujet/Plot.
The sujet, or the presentation of the film, is structured with two timelines: one in color and one in black-and-white. The color sequences are alternated with black-and-white sequences. The latter are put together in chronological order. The color ones, though shown forward (except for the very first one, which is shown in reverse) are ordered in reverse. Chronologically, the black-and-white sequences come first, the color sequences come next.
Using the numbering scheme suggested by Andy Klein in his article for Salon magazine[4] who took numbers from 1 to 22 for the black-and-white sequences and letters A-V for the color ones the plotting of the film as presented is: Opening Credits (shown "backward"), 1, V, 2, U, 3, T, 4, S, ..., 22/A, Credits.
There is a smooth transition from the black-and-white sequence 22 to color sequence A and it occurs during the development of a Polaroid photograph.
The fabula of the film (the chronological order of the story) can be viewed as a "Hidden feature" on the 2-Disc Limited Edition Region 1 DVD [6] and the 3-Disc special Edition Region 2 DVD.[7] In this special feature the chapters of the film are put together into the chronological order and is shown: Ending Credits (run in reverse), 1, 2, 3, ..., 22, A, B, ..., V, then the opening title runs "backward" to what was shown (the opening title sequence is run in reverse during the actual film, so it is shown forward in this version).
Stefano Ghislotti wrote an article in Film Anthology [8] which discusses how Nolan provides the viewer with the clues necessary to decode the sujet as we watch and help us understand the fabula from it. The color sequences include a brief overlap to help clue the audience into the fact that they are being presented in reverse order. The purpose of the fragmented reverse sequencing is to force the audience into a sympathetic experience of Leonard's defective ability to create new long-term memories, where prior events are not recalled, since the audience has yet to see them.
Production[edit]
Development[edit]
In July 1996, brothers Christopher and Jonathan Nolan took a cross-country road trip from Chicago to Los Angeles, as Christopher was relocating his home to the West Coast. During the drive, Jonathan pitched the story for the film to his brother, who responded enthusiastically to the idea.[9] After they arrived in Los Angeles, Jonathan left for Washington, D.C., to finish college. Christopher repeatedly asked Jonathan to send him a first draft, and after a few months, Jonathan complied.[10] Two months later, Christopher came up with the idea to tell the film backwards, and began to work on the screenplay. Jonathan wrote the short story simultaneously, and the brothers continued to correspond, sending each other subsequent revisions of their respective works.[11]
Jonathan's short story, titled "Memento Mori", is radically different from Christopher's film, although it maintains the same essential elements. In Jonathan's version, Leonard is instead named Earl and is a patient at a mental institution.[12] As in the film, his wife was killed by an anonymous man, and during the attack on his wife, Earl lost his ability to create new long-term memories. Like Leonard, Earl leaves notes to himself and has tattoos with information about the killer. However, in the short story, Earl convinces himself through his own written notes to escape the mental institution and murder his wife's killer. Unlike the film, there is no ambiguity that Earl finds and kills the anonymous man.[12]
In July 1997, Christopher's then-girlfriend Emma Thomas showed his screenplay to Aaron Ryder, an executive for Newmarket Films. Ryder said the script was, "perhaps the most innovative script I had ever seen",[13] and soon after, it was optioned by Newmarket and given a budget of $4.5 million.[14] Pre-production lasted seven weeks, during which the main shooting location changed from Montreal, Quebec to Los Angeles, California, to create a more realistic and noirish atmosphere for the film.[15]
Casting[edit]
Brad Pitt was initially slated to play Leonard. Pitt was interested in the part, but passed due to scheduling conflicts.[16] Other considered actors include Aaron Eckhart (who would later work with Nolan on The Dark Knight) and Thomas Jane, but the role went to Guy Pearce, who impressed Nolan the most. Pearce was chosen partly for his "lack of celebrity" (after Pitt passed, they "decided to eschew the pursuit of A-list stars and make the film for less money by using an affordable quality actor"), and his enthusiasm for the role, evidenced by a personal phone call Pearce made to Nolan to discuss the part.[17]
After being impressed by Carrie-Anne Moss' performance as Trinity in the 1999 science fiction film The Matrix, Jennifer Todd suggested her for the part of Natalie. While Mary McCormack lobbied for the role, Nolan decided to cast Moss as Natalie, saying, "She added an enormous amount to the role of Natalie that wasn't on the page".[18] For the corrupt police officer Teddy, "comedian Denis Leary was mentioned, though proved unavailable".[19] Moss suggested her co-star from The Matrix, Joe Pantoliano. Although there was a concern that Pantoliano might be too villainous for the part, he was still cast, and Nolan said he was surprised by the actor's subtlety in his performance.[19]
The rest of the film's characters were quickly cast after the three main leads were established. Stephen Tobolowsky and Harriet Sansom Harris play Sammy Jankis and his wife, respectively. Mark Boone Junior landed the role of Burt, the motel clerk, because Jennifer Todd liked his "look and attitude" for the part (as a result he has re-appeared in minor roles in other productions by Nolan).[20] Larry Holden plays Jimmy Grantz, a drug dealer and Natalie's boyfriend, while Callum Keith Rennie performs the part of Dodd, a thug to whom Jimmy owes money. Rounding out the cast is Jorja Fox as Leonard's wife and Kimberly Campbell as a private escort.
Filming[edit]
Filming took place from September 7 to October 8, 1999,[21] a 25-day shooting schedule. Pearce was on set every day during filming, although all three principal actors (including Pantoliano and Moss) only performed together the first day, shooting exterior sequences outside Natalie's house. All of Moss' scenes were completed in the first week,[22] including follow-up scenes at Natalie's home, Ferdy's bar, and the restaurant where she meets Leonard for the final time.
Pantoliano returned to the set late in the second week to continue filming his scenes. On September 25, the crew shot the opening scene in which Leonard kills Teddy. Although the scene is in reverse motion, Nolan used forward-played sounds.[23] For a shot of a shell casing flying upwards, the shell had to be dropped in front of the camera in forward motion, but it constantly rolled out of frame. Nolan was forced to blow the casing out of frame instead, but in the confusion, the crew shot it backwards.[23] They then had to make an optical (a copy of the shot) and reverse the shot to make it go forward again. "That was the height of complexity in terms of the film", Nolan says. "An optical to make a backwards running shot forwards, and the forwards shot is a simulation of a backwards shot."[24]
The next day, on September 26, Larry Holden returned to shoot the sequence where Leonard attacks Jimmy.[25] After filming was completed five days later, Pearce's voice-overs were recorded. For the black-and-white scenes, Pearce was given free rein to improvise his narrative, allowing for a documentary feel.[24]
The Travel Inn in Tujunga, California, was repainted and used as the interior of Leonard's and Dodd's motel rooms and the exterior of the film's Discount Inn. Scenes in Sammy Jankis' house were shot in a suburban home close to Pasadena, while Natalie's house was located in Burbank.[26] The crew planned to shoot the derelict building set (where Leonard kills Teddy and Jimmy) in a Spanish-styled brick building owned by a train company. However, one week before shooting began, the company placed several dozen train carriages outside the building, making the exterior unfilmable. Since the interior of the building had already been built as a set, a new location had to be found. An oil refinery near Long Beach was used instead, and the scene where Leonard burns his wife's possessions was filmed on the other side of the refinery.[27]
Music[edit]
David Julyan composed the film's synthesized score. Julyan acknowledges several synthesized soundtracks that inspired him, such as Vangelis' Blade Runner and Hans Zimmer's The Thin Red Line.[28] While composing the score, Julyan created different, distinct sounds to differentiate between the color and black-and-white scenes: "brooding and classical" themes in the former, and "oppressive and rumbly noise" in the latter.[29] Since he describes the entire score as "Leonard's theme", Julyan says, "The emotion I was aiming at with my music was yearning and loss. But a sense of loss you feel but at the same time you don't know what it is you have lost, a sense of being adrift."[30] Initially, Nolan wanted to use Radiohead's "Paranoid Android" during the end credits, but he was unable to secure the rights.[31] Instead, David Bowie's "Something in the Air" is used, although another of Radiohead's songs, an extended version of "Treefingers", is included on the film's soundtrack.[32]
Release[edit]
The film gained substantial word-of-mouth press from the film festival circuit. It premiered at the 2000 Venice International Film Festival, where it received a standing ovation, and afterwards played at Deauville American Film Festival and the Toronto International Film Festival.[33] With the publicity from these events, Memento did not have trouble finding foreign distributors, opening in more than 20 countries worldwide. Its promotion tour ended at the Sundance Film Festival, where it played in January 2001.[34]
Finding American distributors proved more troublesome. Memento was screened for various studio heads (including Miramax chief Harvey Weinstein) in March 2000. Although most of the executives loved the film and praised Nolan's talent, all passed on distributing the picture, believing it was too confusing and would not attract a large audience.[35] After famed independent film director Steven Soderbergh saw the film and learned it was not being distributed, he championed the film in interviews and public events,[36] giving it even more publicity, although he did not secure a distributor. Newmarket, in a financially risky move, decided to distribute the film itself.[35] After the first few weeks of distribution, Memento had reached more than 500 theaters and earned a domestic total of $25 million in its box-office run. The film's success was surprising to those who passed on the film, so much so that Weinstein realized his mistake and tried to buy the film from Newmarket.[37]
Marketing[edit]
Jonathan Nolan designed the film's official website. As with the marketing strategy of The Blair Witch Project, the website was intended to provide further clues and hints to the story, while not providing any concrete information.[38] After a short intro on the website, the viewer is shown a newspaper clipping detailing Leonard's murder of Teddy. Clicking on highlighted words in the article leads to more material describing the film, including Leonard's notes and photographs as well as police reports.[39] The filmmakers employed another tactic by sending out Polaroid pictures to random people, depicting a bloody and shirtless Leonard pointing at an unmarked spot on his chest.[40] Since Newmarket distributed the film themselves, Christopher Nolan edited the film's trailers himself.[40] Sold to inexpensive cable-TV channels like Bravo and A&E, and websites such as Yahoo and MSN, the trailers were key to the film gaining widespread public notice.
Home media[edit]



 The Special Edition DVD's menus are arranged as psychological tests. Highlighting certain objects will lead to special features.
Memento was released on DVD and VHS in the United States and Canada on September 4, 2001, and in the United Kingdom on January 14, 2002. The UK edition contains a hidden feature that allows the viewer to watch the film in chronological order. The Canadian version does not have this feature but the film chapters are set up to do this manually or through DVD programming. The original US release does not have the chronological feature nor are the chapters set up correctly to do it.
The film was later re-released in a limited edition DVD that features an audio commentary by Christopher Nolan, the original short story by Jonathan Nolan on which the film was based, and a Sundance Channel documentary on the making of the film.[41] The limited edition DVD also contains a hidden feature that allows the viewer to watch the film in chronological order.[42]
The Limited Edition DVD is uniquely packaged to look like Leonard's case file from a mental institution, with notes scribbled by "doctors" and Leonard on the inside.[42] The DVD menus are designed as a series of psychological tests; the viewer has to choose certain words, objects, and multiple choice answers to play the movie or access special features.[42] Leonard's "notes" on the DVD case offer clues to navigating the DVD.
Memento was re-released in the UK on a 3-disc Special Edition DVD on December 27, 2004. This release contains all the special features that are on the two US releases in one package plus a couple of new interviews. The menus appear as tattoos on a body and are more straightforward than the US 2-disc limited edition DVD.
Memento was released on Blu-ray Disc on August 15, 2006. This release lacks the special features contained on the Limited Edition DVD, but does include the audio commentary by director Christopher Nolan. The single-layer disc features an MPEG-2 1080p transfer and PCM 5.1 surround audio. The film was also released on iTunes as a digital download.
The film was re-released on the Blu-ray and DVD in the USA on 22 February 2011 by Lionsgate following the 10th anniversary of the film. Both the Blu-ray and DVD have a new transfer that was also shown in theaters recently. Aside from the transfer, the Blu-ray contains a new special featurette by Nolan on the film's legacy.[43]
Reception[edit]
Memento was a box office success. During its opening weekend, it was released in only 11 theaters, but by week 11 it was distributed to more than 500 theaters.[44] It grossed $25,544,867 in North America and $14,178,229 in other countries, making the film's total worldwide gross some $40 million as of August 2007.[44] During its theatrical run, it did not place higher than eighth in the list of highest-grossing movies for a single weekend.[45]
The film was nominated for Academy Awards in Original Screenplay and Editing, but did not win in either category.[46] Because Jonathan Nolan's short story was not published before the film was released, it was nominated for Original Screenplay instead of Adapted Screenplay and both Christopher and Jonathan received Academy Awards nominations. It was also nominated for the Grand Jury Prize at the Sundance Film Festival, but lost to The Believer. However, it won 13 awards for Best Screenplay and five awards for Best Picture from various film critic associations and festivals, including the Chicago Film Critics Association and the Sundance Waldo Salt Screenwriting Award.[46] Christopher Nolan was nominated for three Best Director awards including the Directors Guild of America Award and was awarded one from the Independent Spirit Awards. Pearce was accorded Best Actor from the San Diego Film Critics Society and the Las Vegas Film Critics Society.[46] The film was also nominated for the prestigious Grand Prix of the Belgian Syndicate of Cinema Critics.[47]
Critical response[edit]
Memento was met with critical acclaim, earning a 92% rating on Rotten Tomatoes , a website that aggregates professional critiques. [48] Online film critic James Berardinelli gave the film four out of four stars, ranking it number one on his year-end Top Ten list and number sixty-three on his All-Time Top 100 films.[49][50] In his review, he called it an "endlessly fascinating, wonderfully open-ended motion picture [that] will be remembered by many who see it as one of the best films of the year".[51] Berardinelli praised the film's backwards narrative, saying that "what really distinguishes this film is its brilliant, innovative structure", and noted that Guy Pearce gives an "astounding...tight, and thoroughly convincing performance".[51] In 2009, Berardinelli chose Memento as his #3 best movie of the decade. William Arnold of the Seattle Post-Intelligencer writes that Memento is a "delicious one-time treat", and emphasizes that director Christopher Nolan "not only makes Memento work as a non-linear puzzle film, but as a tense, atmospheric thriller".[52] Rob Blackwelder noted that "Nolan has a crackerjack command over the intricacies of this story. He makes every single element of the film a clue to the larger picture...as the story edges back toward the origins of [Leonard's] quest".[53]
However, not all critics were impressed with the film's structure. Marjorie Baumgarten wrote, "In forward progression, the narrative would garner little interest, thus making the reverse storytelling a filmmaker's conceit."[54] Sean Burns of the Philadelphia Weekly commented that "For all its formal wizardry, Memento is ultimately an ice-cold feat of intellectual gamesmanship. Once the visceral thrill of the puzzle structure begins to wear off, there's nothing left to hang onto. The film itself fades like one of Leonard's temporary memories."[55] While Roger Ebert gave the film a favorable three out of four stars, he did not think it warranted multiple viewings. After watching Memento twice, he concluded that "Greater understanding helped on the plot level, but didn't enrich the viewing experience. Confusion is the state we are intended to be in."[56] Jonathan Rosenbaum disliked the film, and commented in his review of Eternal Sunshine of the Spotless Mind that Memento is a "gimmicky and unpoetic counterfeit" of Alain Resnais's 1968 film Je t'aime, je t'aime.[57]
In 2005, the Writers Guild of America ranked the screenplay #100 on its list of 101 Greatest Screenplays ever written.[58]
Scientific response[edit]
Many medical experts have cited Memento as one of the most realistic and accurate depictions of anterograde amnesia in any motion picture. Caltech neuroscientist Christof Koch called Memento "the most accurate portrayal of the different memory systems in the popular media,"[59] while physician Esther M. Sternberg, Director of the Integrative Neural Immune Program at the National Institute of Mental Health, identified the film as "close to a perfect exploration of the neurobiology of memory."[60]
Sternberg concludes: "This thought-provoking thriller is the kind of movie that keeps reverberating in the viewer's mind, and each iteration makes one examine preconceived notions in a different light. Memento is a movie for anyone interested in the workings of memory and, indeed, in what it is that makes our own reality."
Clinical neuropsychologist Sallie Baxendale writes in Memories aren't made of this: amnesia at the movies:

The overwhelming majority of amnesic characters in films bear little relation to any neurological or psychiatric realities of memory loss... Apparently inspired partly by the neuropsychological studies of the famous patient HM (who developed severe anterograde memory impairment after neurosurgery to control his epileptic seizures) and the temporal lobe amnesic syndrome, the film documents the difficulties faced by Leonard, who develops a severe anterograde amnesia after an attack in which his wife is killed. Unlike in most films in this genre, this amnesic character retains his identity, has little retrograde amnesia, and shows several of the severe everyday memory difficulties associated with the disorder. The fragmented, almost mosaic quality to the sequence of scenes in the film also reflects the 'perpetual present' nature of the syndrome.[61]
Best film list appearances[edit]

Year
Presenter
Title
Rank
Ref.

2013
Motion Picture Editors Guild 75 Best Edited Films of All Time 14 [62]
2012
Total Film 50 Best Movies of Our Lifetime 2 [63]
2009
The A.V. Club The Best Films of the '00s 5 [64]
2008
Empire The 500 Greatest Movies of All Time 173 [65]
2005
Internet Movie Database (IMDb) 15th Anniversary Top 15 Films
 for the Last 15 Years 7 [66]
Empire The 50 Greatest Independent Films 14 [67]
Writers Guild of America, West 101 Greatest Screenplays of All Time 100 [68]
2003
1001 Movies You Must See Before You Die N/A [69]
2001
National Board of Review (NBR) Top 10 Films of the Year [70]
American Film Institute (AFI) [71]
See also[edit]

Portal icon Novels portal
Reverse chronology

References[edit]
1.Jump up ^ "MEMENTO (15)". British Board of Film Classification. 2000-08-15. Retrieved 2013-06-10.
2.Jump up ^ "Memento".
3.Jump up ^ "Memento".
4.^ Jump up to: a b Klein, Andy (2001-06-28). "Everything you wanted to know about "Memento"". Salon.com. Retrieved 2012-09-04.
5.Jump up ^ Session Timeout – Academy Awards® Database – AMPAS. Awardsdatabase.oscars.org (2010-01-29). Retrieved on 2011-01-26.
6.Jump up ^ "2-Disc LE DVD Review". Retrieved 2009-09-24.
7.Jump up ^ "3 Disk SE DVD Review". Retrieved 2009-09-24.
8.Jump up ^ Ghislotti, Stefano (2003). "Backwards: Memory and Fabula Construction in "Memento" by Christopher Nolan". Film Anthology. Retrieved 2009-09-24.
9.Jump up ^ Kaufman, Anthony (2009-12-04). "Mindgames; Christopher Nolan Remembers "Memento"". Indiewire.com. Retrieved 2010-08-20.
10.Jump up ^ Mottram, James (2002). The Making of Memento. New York: Faber. p. 162. ISBN 0-571-21488-6.
11.Jump up ^ Mottram, p. 166.
12.^ Jump up to: a b Nolan, Jonathan. "Memento Mori". Mottram. "Appendix", pp 183–95. See also: Nolan, Jonathan (2001). "Memento Mori". Esquire Magazine. Retrieved 2010-10-02.
13.Jump up ^ Mottram, p. 176.
14.Jump up ^ Mottram, p. 177.
15.Jump up ^ Mottram, p. 151-2.
16.Jump up ^ Mottram, p. 106.
17.Jump up ^ Mottram, p. 107-8.
18.Jump up ^ Mottram, p. 111.
19.^ Jump up to: a b Mottram, p. 112.
20.Jump up ^ Mottram, p. 114.
21.Jump up ^ Mottram, p. 125.
22.Jump up ^ Mottram, p. 127.
23.^ Jump up to: a b Nolan, Christopher (2002). Memento DVD commentary (DVD). Columbia TriStar.
24.^ Jump up to: a b Mottram, p. 133.
25.Jump up ^ Mottram, p. 134.
26.Jump up ^ Mottram, p. 154-5.
27.Jump up ^ Mottram, p. 156-7.
28.Jump up ^ Mottram, p. 92, 96.
29.Jump up ^ Mottram, p. 96.
30.Jump up ^ Julyan, David. "Comments on Memento". Davidjulyan.com. Archived from the original on July 17, 2007. Retrieved 2007-08-08.
31.Jump up ^ Mottram, p. 99.
32.Jump up ^ "Track Listing for "Memento: Music For and Inspired by the Film"". CDuniverse.com. Retrieved 2007-08-08.
33.Jump up ^ Mottram, p. 62-4.
34.Jump up ^ Mottram, p. 65.
35.^ Jump up to: a b Fierman, Daniel (2001-03-21). "Memory Swerves: EW reports on the story behind the indie thriller". Entertainment Weekly. Retrieved 2007-08-09.
36.Jump up ^ Mottram, p. 52.
37.Jump up ^ Mottram, p. 58.
38.Jump up ^ Mottram, p. 67.
39.Jump up ^ "Official site". otnemem.com. Retrieved 2007-08-09.
40.^ Jump up to: a b Mottram, p. 74.
41.Jump up ^ "DVD Details for Memento". Internet Movie Database. Retrieved 2006-12-27.
42.^ Jump up to: a b c Bovberg, Jason (2002-05-21). "Memento: Limited Edition". DVDtalk.com. Retrieved 2006-12-27.
43.Jump up ^ Juan Calonge (2 December 2010). "The Last Unicorn, Memento 10th Anniversary Blu-ray Announced". Blu-ray.com. Retrieved 2 December 2010.
44.^ Jump up to: a b "Memento". Box Office Mojo. Retrieved 2006-12-18.
45.Jump up ^ "Memento Weekend Box Office". Box Office Mojo. Retrieved 2006-12-18.
46.^ Jump up to: a b c "Awards for Memento". Internet Movie Database. Retrieved 2006-12-19.
47.Jump up ^ ""Amores Perros" remporte le prix de l'UCC". La Libre Belgique (in French). January 6, 2002. Retrieved October 26, 2012.
48.Jump up ^ "Memento". Rotten Tomatoes. Retrieved 2006-12-18.
49.Jump up ^ Berardinelli, James (2001-12-31). "Berardinelli's Top Ten for 2001". ReelViews.net. Retrieved 2006-12-16.
50.Jump up ^ Berardinelli, James. "Berardinelli's All-Time Top 100". ReelViews.net. Retrieved 2006-12-16.
51.^ Jump up to: a b Berardinelli, James. "Memento". ReelViews.net. Retrieved 2006-12-16.
52.Jump up ^ Arnold, William (2001-03-30). "Memento is new, original, possibly even great". Seattle Post-Intelligencer. Retrieved 2006-12-16.
53.Jump up ^ Blackwelder, Rob. "Blanks for the Memories". SPLICEDwire.com. Retrieved 2006-12-18.
54.Jump up ^ Baumgarten, Marjorie (2001-03-30). "Memento". Austin Chronicle. Retrieved 2006-12-18.
55.Jump up ^ Burns, Sean (2001-03-28). "Ain't It the Truth?". Philadelphia Weekly. Archived from the original on November 5, 2004. Retrieved 2006-12-18.
56.Jump up ^ Ebert, Roger (2001-04-13). "Memento". Chicago Sun-Times. Retrieved 2006-12-18.
57.Jump up ^ Rosenbaum, Jonathan. "A Stylist Hits His Stride". Jonathan Rosenbaum.
58.Jump up ^ Savage, Sophia (February 27, 2013). "WGA Lists Greatest Screenplays, From 'Casablanca' and 'Godfather' to 'Memento' and 'Notorious'". Retrieved February 28, 2013.
59.Jump up ^ Koch, Christof (2004). The Quest for Consciousness: A Neurobiological Approach. Roberts and Company Publishers. p. 196. ISBN 0-9747077-0-8.
60.Jump up ^ Sternberg, E.M (June 1, 2001). "Piecing Together a Puzzling World: Memento". Science 292 (5522): 1661–1662. doi:10.1126/science.1062103.
61.Jump up ^ Baxendale, Sallie (December 18, 2004). "Memories aren't made of this: amnesia at the movies". BMJ 329 (7480): 1480–1483. doi:10.1136/bmj.329.7480.1480. PMC 535990. PMID 15604191.
62.Jump up ^ Retrieved on 2013-07-11.
63.Jump up ^ Retrieved on 2012-01-23.
64.Jump up ^ Murray, Noel. (2009-12-03) The best films of the '00s | Best Of The Decade. The A.V. Club. Retrieved on 2011-01-26.
65.Jump up ^ Empire Features. Empireonline.com (2006-12-05). Retrieved on 2011-01-26.
66.Jump up ^ 15th anniversary, IMDB.coms
67.Jump up ^ Empire Features. Empireonline.com (2006-12-05). Retrieved on 2011-01-26.
68.Jump up ^ WGAW. http://www.wga.org/. Retrieved on 2013-07-11.
69.Jump up ^ 1001 Series. 1001 beforeyoudie.com (2002-07-22). Retrieved on 2011-01-26.
70.Jump up ^ National Board of Review of Motion Pictures :: Awards. Nbrmp.org. Retrieved on 2011-01-26.
71.Jump up ^ AFI AWARDS 2001: Movies of the Year. Afi.com. Retrieved on 2011-01-26.
External links[edit]
 Wikiquote has a collection of quotations related to: Memento
 Wikimedia Commons has media related to Memento.
Memento at the Internet Movie Database
Memento at allmovie
Memento at Box Office Mojo
Memento at Metacritic
Memento at Rotten Tomatoes
Review of Memento by the Onion AV Club
Plot Holes: Memento, on how certain discrepancies might be plot holes or of more significance, on Slate
Memento and anterograde amnesia


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Categories: 2000 films
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The Black Dahlia (film)
From Wikipedia, the free encyclopedia
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This article is about the film directed by Brian De Palma. For other uses, see Black Dahlia (disambiguation).

The Black Dahlia
Black dahlia ver264.jpg
Theatrical Release Poster

Directed by
Brian De Palma
Produced by
Art Linson
 Rudy Cohen
 Moshe Diamant
Written by
Josh Friedman
Based on
The Black Dahlia
 by James Ellroy
Starring
Josh Hartnett
Scarlett Johansson
Aaron Eckhart
Hilary Swank
Music by
Mark Isham
Cinematography
Vilmos Zsigmond
Editing by
Bill Pankow
Studio
Millennium Films
Nu Image
 Signature Pictures
Distributed by
Universal Pictures
Release dates
September 15, 2006

Running time
122 minutes
Country
United States
Language
English
Budget
$50,000,000[1]
Box office
$49,332,692[1]
The Black Dahlia is a 2006 American neo noir crime film directed by Brian De Palma. It is drawn from a novel of the same name by James Ellroy, writer of L.A. Confidential and starred Josh Hartnett, Scarlett Johansson, Aaron Eckhart and Hilary Swank. The film is based on the murder of Elizabeth Short and had its world premiere as opener at the 63rd Venice International Film Festival on August 30, 2006. Wide release was on September 15, 2006. Despite being both a critical and financial failure, the film was nominated for Best Cinematography at the 79th Academy Awards but lost to Pan's Labyrinth.


Contents  [hide]
1 Plot
2 Cast
3 Development and production
4 Reception 4.1 Critical response
4.2 Box office
5 References
6 External links

Plot[edit]
In Los Angeles, on January 15, 1947, LAPD officers Dwight 'Bucky' Bleichert (Josh Hartnett) and Lee Blanchard (Aaron Eckhart), investigate the murder and dismemberment of Elizabeth Short (Mia Kirshner), soon dubbed 'The Black Dahlia' by the press.
Bucky learns that Elizabeth was an aspiring actress who appeared in a pornographic film. Through his investigation, Bucky learns that Elizabeth liked to hang out with lesbians. He goes to a lesbian nightclub and meets Madeleine Linscott (Hilary Swank), who looks very much like Elizabeth. Madeleine, who comes from a prominent family, tells Bucky that she was 'very close' with Elizabeth, but also asks him to keep her name out of the papers. In exchange for his silence, she promises him sexual favors. Continuing his relationship with Madeleine, Bucky meets her wealthy parents, Emmett (John Kavanagh) and Ramona (Fiona Shaw).
Bucky's partner, Lee, also becomes obsessed with Elizabeth's murder. Lee's obsession leads him to become erratic and abusive towards his longtime girlfriend Kay Lake (Scarlett Johansson), who is also one of Bucky's close friends. After Lee and Bucky have a nasty argument about a previous case, Bucky goes to Lee and Kay's to apologize, only to learn from Kay that Lee was responding to a tip about a recently released convict, Bobby DeWitt. Bucky goes to the location and gets into an altercation with DeWitt in the atrium of the building. DeWitt is gunned down by Lee, standing on the stairs across the atrium. Bucky sees a man sneak up behind Lee, wrapping a rope around Lee's neck. Lee fights back while Bucky, paralyzed with shock, watches from across the atrium as a second shadowy figure steps out and slits Lee's throat. Lee and the man holding the rope fall over the railing to their deaths several floors below.
Dealing with the grief of losing Lee propels Bucky and Kay into a sexual encounter. The next morning Bucky finds money from a bank robbery hidden in Lee/Kay's bathroom. Kay reveals that she had been DeWitt's girlfriend, that DeWitt had mistreated her, and that DeWitt had done the bank robbery. Lee had rescued Kay and stolen DeWitt's bank robbery money. Lee needed to kill DeWitt now that he was out of prison—leading to the encounter that resulted in Lee's death. Bucky leaves, furious with Lee and Kay for their actions and lies. He returns to Madeleine's family mansion and continues his intense relationship with her.
Watching an old movie one night, Bucky notices that a bedroom scene matches the set in Elizabeth's pornographic. The credits at the end of the film includes the statement "Special Thanks to Emmett Linscott", Madeleine's father. Lee's search for answers leads him to an incomplete housing project that Madeleine's father had started just below the Hollywoodland sign. In one of the empty houses, Bucky recognizes the set that was used to film Elizabeth's pornographic movie. In a barn on the property, Bucky finds where Elizabeth was killed and her body butchered, as well as a drawing of a man with a Glasgow smile. The drawing resembles a painting in Madeleine's family home, and matches the disfiguring smile carved into Elizabeth's face during her murder.
Bucky confronts Madeleine and her father in their home, accusing them of murdering Elizabeth. Madeleine's mother reveals that she was the one to kill Elizabeth, who looked so much like Madeleine. She confesses first that Madeleine was not fathered by Emmett but rather by his best friend, George. She further reveals that George had been on set when Elizabeth's pornographic film was made, becoming infatuated with her. Finally, she felt that Elizabeth looked too much like Madeleine, was bothered that George was going to have sex with someone who looked like his own daughter, and decided to kill Elizabeth first. Upon finishing her confession, Ramona kills herself.
A few days later, remembering something Lee had said during the investigation, Bucky visits Madeleine's sister with some questions. He learns that Lee knew about the lesbian relationship between Madeleine and Elizabeth and was blackmailing Madeleine's father to keep it secret. Bucky finds Madeleine at a seedy motel, and she admits to being the shadowy figure that slit Lee's throat. Although she insists that Bucky wants to have sex with her rather than kill her, he tells her she is wrong and shoots her dead.
Bucky later goes to Kay's house. Kay tells him to come in and closes the door as the film ends.
Cast[edit]
Josh Hartnett as Police Officer Dwight 'Bucky' Bleichert
Scarlett Johansson as Katherine 'Kay' Lake
Aaron Eckhart as Police Officer Lee Blanchard
Hilary Swank as Madeleine Linscott
Mia Kirshner as Elizabeth Ann Short
Mike Starr as Detective Russ Millard
Fiona Shaw as Ramona Linscott
Patrick Fischler as Deputy DA Ellis Loew
James Otis as Dolph Bleichert
John Kavanagh as Emmett Linscott
Troy Evans as Chief Ted Green
Pepe Serna as Tomas Dos Santos
Angus MacInnes as Captain John Tierney
Rachel Miner as Martha Linscott
Victor McGuire as Sgt. Bill Koenig
Gregg Henry as Pete Lukins
Jemima Rooper as Lorna Mertz
Rose McGowan as Sheryl Saddon
Steve Eastin as Detective
Ian McNeice as Coroner
Richard Brake as Bobby DeWitt
William Finley as Georgie Tilden
Joost Scholte as Madeleine's GI
Fatso-Fasano as Dealer
Development and production[edit]
The film was originally in pre-production with David Fincher attached as director and Mark Wahlberg attached to play Lee Blanchard. Wahlberg was forced to drop out due to scheduling conflicts with the planned filming of The Italian Job. Fincher originally envisioned "a five-hour, $80-million mini-series with movie stars."[2]
When De Palma became director, he replaced Wahlberg with Aaron Eckhart shortly before shooting began in April 2005.



 The film shooting on location in Hollywood, June 2005. Black Angel is on the marquee.
This film was shot in Los Angeles, California and in Pernik, Bulgaria, at an estimated cost of $50 million. Only a handful of exterior scenes were filmed in Los Angeles; MacArthur Park, Pantages Theatre (and adjoining bar The Frolic Room) at Hollywood and Vine, and the Alto-Nido Apartments are perhaps the most recognizable landmarks. A standing set on the backlot of Nu Boyana Film Studios in Sofia, Bulgaria, was used to represent Leimert Park.
James Horner was originally on board the project to score the film's music but in February, 2006 it was reported that Mark Isham had replaced him.
Scenes from the 1928 film The Man Who Laughs appear in this film.
Reception[edit]
Critical response[edit]



 A location shot for the film, showing a rainmaking rig, a sprinkler system used to create the appearance of rain on the set -- a commonly employed practical effect.
Highly anticipated by many after the success of L.A. Confidential, the film received mixed to negative reviews from critics. At Rotten Tomatoes, the film currently holds a 32% "Rotten" rating.
David Denby of The New Yorker described it as "a kind of fattened goose that’s been stuffed with goose-liver pâté. It’s overrich and fundamentally unsatisfying... There are scenes that display De Palma’s customary visual brilliance... (b)ut the movie is so complicated, the narrative so awkward, that when the pieces of the puzzle fall into place we get no tingle of satisfaction."[3] Peter Travers of Rolling Stone magazine commented "De Palma throws everything at the screen, but almost nothing sticks."[4] J. Hoberman of The Village Voice stated that the film "rarely achieves the rhapsodic (let alone the delirious)."[5]
However, Mia Kirshner's performance as Elizabeth Short was praised by many critics. Stephanie Zacharek of Salon.com, in a largely negative review, notes that the eponymous character was "played wonderfully by Mia Kirshner..."[6] Mick LaSalle wrote that Kirshner "makes a real impression of the Dahlia as a sad, lonely dreamer, a pathetic figure."[7] J. R. Jones described her performance as "haunting" and that the film's fictional screen tests "deliver the emotional darkness so lacking in the rest of the movie."[8]
Box office[edit]
The film opened on September 15, 2006 in 2,226 theaters. It came in second place over its opening weekend (losing out to Gridiron Gang), with an estimated $10 million gross box office. It ended its theatrical run after domestically grossing $22,545,080, and grossing $26,787,612 in foreign theaters for a global total of $49,332,692.[9]
References[edit]
1.^ Jump up to: a b http://www.boxofficemojo.com/movies/?id=blackdahlia.htm
2.Jump up ^ Rachel Abramowitz (2007-02-27). "2 men, 1 obsession: the quest for justice". Los Angeles Times. Retrieved 2010-10-03.
3.Jump up ^ David Denby (2006-09-18). "Inescapable Pasts". The New Yorker. Retrieved 2010-10-03.
4.Jump up ^ http://www.rollingstone.com/reviews/movie/9307283/review/11691416/the_black_dahlia
5.Jump up ^ J. Hoberman (2006-09-05). "Ghost World". The Village Voice. Retrieved 2011-08-29.
6.Jump up ^ Stephanie Zacharek (2006-09-15). ""The Black Dahlia"". Salon.com. Retrieved 2011-08-29.
7.Jump up ^ Mick LaSalle (2006-09-15). "'Black Dahlia' may look good, but it's noir lite". San Francisco Chronicle. Retrieved 2011-08-29.
8.Jump up ^ J. R. Jones (2006-08-29). "The Black Dahlia". Chicago Reader. Retrieved 2011-08-29.
9.Jump up ^ The Black Dahlia at Box Office Mojo
External links[edit]
Official film site
The Black Dahlia at the Internet Movie Database
The Black Dahlia at allmovie
The Black Dahlia at Rotten Tomatoes
The Black Dahlia at Box Office Mojo
A Dark Moment in the Harsh Hollywood Sun - The New York Times, February 5, 2006


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Categories: 2006 films
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Films directed by Brian De Palma
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Inception
From Wikipedia, the free encyclopedia
  (Redirected from Inception (film))
Jump to: navigation, search

For other uses, see Inception (disambiguation).

Inception
A man in a suit with a gun in his right hand is flanked by five other individuals in the middle of a street which, behind them, is folded upwards. Leonardo DiCaprio's name and those of other cast members are shown above the words "Your Mind Is the Scene of the Crime". The title of the film "INCEPTION", film credits, and theatrical and IMAX release dates are shown at the bottom.
Theatrical release poster

Directed by
Christopher Nolan
Produced by
Christopher Nolan
Emma Thomas
Written by
Christopher Nolan
Starring
Leonardo DiCaprio
Ken Watanabe
Joseph Gordon-Levitt
Marion Cotillard
Ellen Page
Tom Hardy
Cillian Murphy
Tom Berenger
Michael Caine
Music by
Hans Zimmer[1]
Cinematography
Wally Pfister
Editing by
Lee Smith
Studio
Legendary Pictures
Syncopy Films
Distributed by
Warner Bros. Pictures
Release dates
July 8, 2010 (London premiere)
July 16, 2010 (United States)

Running time
148 minutes[2]
Country
United States
United Kingdom
[3]
Language
English
Budget
$160  million[4]
Box office
$825,532,764[5]
Inception is a 2010 British-American science fiction heist thriller film written, co-produced, and directed by Christopher Nolan. The film stars a large ensemble cast that includes Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Ellen Page, Tom Hardy, Dileep Rao, Cillian Murphy, Tom Berenger, and Michael Caine. DiCaprio plays Dominick "Dom" Cobb, a professional thief who commits corporate espionage by infiltrating the subconscious of his targets. He is offered a chance of redemption as payment for a task considered to be impossible: "inception", the implantation of another person's idea into a target's subconscious.[6]
Shortly after finishing Insomnia (2002), Nolan wrote an 80-page treatment about "dream stealers" envisioning a horror film inspired by lucid dreaming and presented the idea to Warner Bros.[citation needed] Feeling he needed to have more experience with large-scale film production, Nolan retired the project and instead worked on Batman Begins (2005), The Prestige (2006), and The Dark Knight (2008).[7] He spent six months revising the script before Warner Bros. purchased it in February 2009.[8] Inception was filmed in six countries and four continents, beginning in Tokyo on June 19, 2009, and finishing in Canada on November 22, 2009.[9] Its official budget was US$160 million; a cost which was split between Warner Bros and Legendary Pictures.[4] Nolan's reputation and success with The Dark Knight helped secure the film's $100 million in advertising expenditure, with most of the publicity involving viral marketing.
Inception's première was held in London on July 8, 2010; its wide release to both conventional and IMAX theaters began on July 16, 2010.[10][11] A box office success, Inception has grossed over $800 million worldwide becoming the 38th-highest-grossing film of all time.[5] The home video market also had strong results, with $68 million in DVD sales. Inception has received wide critical acclaim and numerous critics have praised its originality, cast, score, and visual effects.[12] It won Academy Awards for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects, and was nominated for four more: Best Picture, Best Original Score, Best Art Direction, and Best Original Screenplay.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Locations and sets
3.3 Cinematography
3.4 Visual effects
3.5 Music
4 Themes 4.1 Reality and dreams
4.2 Dreams and cinema
5 Cinematic technique 5.1 Genre
5.2 Ending
6 Release 6.1 Marketing
6.2 Home media
6.3 Putative video game
6.4 Possible sequels
7 Reception 7.1 Box office earnings
7.2 Critical reception
7.3 Accolades
8 See also
9 References
10 Further reading
11 External links

Plot[edit]
Dominick "Dom" Cobb (Leonardo DiCaprio) and business partner Arthur (Joseph Gordon-Levitt) are "extractors", people who perform corporate espionage using an experimental military technology to infiltrate the subconscious of their targets and extract information while experiencing shared dreaming. Their latest target is Japanese businessman Saito (Ken Watanabe). The extraction from Saito fails when sabotaged by a memory of Cobb's deceased wife Mal (Marion Cotillard). After Cobb's and Arthur's associate sells them out, Saito reveals that he was actually auditioning the team to perform the difficult act of "inception": planting an idea in a person's subconscious.
In order to break up the energy conglomerate of ailing competitor Maurice Fischer (Pete Postlethwaite), Saito wants Cobb to plant the idea of dissolving the company into the mind of Fischer's heir, son Robert Fischer (Cillian Murphy). Should Cobb succeed, Saito tells Cobb he will use his influence to clear Cobb of a murder charge, which will allow Cobb to return home and to his children. Cobb accepts Saito's offer. Cobb sets about assembling his team: Eames (Tom Hardy), a conman and identity forger; Yusuf (Dileep Rao), a chemist who concocts the powerful sedative for a stable "dream within a dream" strategy; Ariadne (Ellen Page), an architecture student tasked with designing the labyrinth of the dream landscapes; and Arthur. Saito insists on accompanying the team to verify the team's success.
When the elder Fischer dies in Sydney, Robert Fischer accompanies the body on a flight back to Los Angeles, which the team uses an opportunity to isolate Fischer. Cobb sedates him bringing him into a shared dream with the extractors. Using a "dream within a dream" strategy, at each level in the layered dreaming, the person generating the dream stays behind to set up a "kick" that will be used to awaken the other sleeping team members who have entered another dream layer deeper. Due to the effects of heavy sedation and multi-layered dreaming, death during the mission will result in entering Limbo, an expanse of infinite raw subconscious. Limbo is a space not dreamed by any one individual, but is shared space where one mind can make drastic alterations of any kind.
In the first level, Yusuf's rainy downtown dream, the team abducts Fischer; however, Fischer's trained subconscious projections attack, wounding Saito severely. Eames temporarily takes the appearance of Fischer's godfather, Peter Browning (Tom Berenger), to suggest Fischer reconsider his father's will. Yusuf drives the team in a van as they are sedated into the second level, a hotel dreamed by Arthur. Here, the extractors recruit Fischer, convincing him that his kidnapping was orchestrated by Browning and that they are Fischer's subconscious dependency. In the third level, a snowy mountain fortress dreamed by Eames, Fischer is told they are in Browning's subconscious, but they are really going deeper into Fischer's. Yusuf, under assault in the first level, initiates his kick too soon by driving off a bridge, removing the gravity of Arthur's dream world and causing an avalanche in Eames' dream, a kick which all missed. Arthur improvises a new kick using an elevator that will be synchronized with the van hitting the water, while the team in Eames' dream races to finish the job before the new round of kicks.
Saito succumbs to his wounds, and Cobb's projection of Mal sabotages the entire plan by killing Fischer, sending them both into Limbo.[13] Cobb and Ariadne enter Limbo to find Fischer and Saito, while Eames remains on his dream level to set up a kick by rigging the fortress with explosives. Cobb reveals to Ariadne that he spent "50 years" with Mal in Limbo constructing a world from their shared memories while seemingly growing old together. Returning to the waking world, Cobb and Mal found less than three hours had passed. Convinced she was still dreaming, Mal committed suicide and tried to persuade Cobb to do so too, by incriminating him in her death. Facing a murder charge Cobb fled the U.S., leaving his children behind, ostensibly in the care of his father-in-law, Prof. Stephen Miles (Michael Caine). Through his confession, Cobb attains catharsis and chooses to remain in Limbo to search for Saito. Ariadne pushes Fischer off a balcony, resuscitating him at the mountain fortress, where he enters a safe room to discover and accept the planted idea: that his father wishes him to be his "own man", and that splitting up the conglomerate might not be a radical notion. All team members other than Cobb and Saito ride the synchronized kicks back to reality: Ariadne jumps off a balcony in Limbo, Eames detonates the explosives in the fortress, Arthur blasts an elevator containing the team's sleeping bodies up an elevator shaft, and the van in Yusuf's dream hits the water. Cobb eventually finds an aged Saito in Limbo and the two remember their arrangement, presumably shooting themselves and waking to outer-world reality back on the airplane, where the entire team and Robert Fischer have awakened.
Upon arriving in Los Angeles, Cobb successfully passes through U.S. customs to his waiting father-in-law, who reunites him with his children. Cobb attempts to determine if he is dreaming or awake by spinning a top, though he does not look to see if it has toppled (which would mean he is not in a dream), instead going to happily greet his family.
Cast[edit]

A man in a black suit, a woman in a pink dress, a man in a plaid suit, a woman in a black dress, a Japanese man in a black suit, and an old man in a blue suit clap their hands, while a man in a black suit stands. A microphone stand is in the foreground, and blue curtains are in the background.

 The cast at a premiere for the film in July 2010: From left to right: Cillian Murphy, Marion Cotillard, Joseph Gordon-Levitt, Ellen Page, Ken Watanabe, Michael Caine, and Leonardo DiCaprioLeonardo DiCaprio as Dominick "Dom" Cobb, a professional thief who specializes in conning secrets from his victims by infiltrating their dreams. DiCaprio was the first actor to be cast in the film.[14] Nolan had been trying to work with the actor for years and met him several times, but was unable to convince him to appear in any of his films until Inception.[15] Both Brad Pitt and Will Smith were offered the role, according to The Hollywood Reporter.[16]
Joseph Gordon-Levitt as Arthur, Cobb's partner who manages and researches the missions. Gordon-Levitt compared Arthur to the producer of Cobb's art, "the one saying, 'Okay, you have your vision; now I'm going to figure out how to make all the nuts and bolts work so you can do your thing'".[17] The actor did all of his stunts but one scene and said the preparation "was a challenge and it would have to be for it to look real".[18] James Franco was in talks with Christopher Nolan to play Arthur, but was ultimately unavailable due to scheduling conflicts.
Ellen Page as Ariadne, a graduate student of architecture who is recruited to construct the various dreamscapes, which are described as mazes. The name Ariadne alludes to a princess of Greek myth, daughter of King Minos, who aided the hero Theseus by giving him a sword and a ball of string to help him navigate the labyrinth which was the prison of the Minotaur. Nolan said that Page was chosen for being a "perfect combination of freshness and savvy and maturity beyond her years".[19] Page said her character acts as a proxy to the audience, as "she's just learning about these ideas and, in essence, assists the audience in learning about dream sharing".[20] Evan Rachel Wood was Christopher Nolan's first choice to play Ariadne, but she turned it down. Before Ellen Page was offered and accepted the role, Nolan considered casting Emily Blunt, Rachel McAdams, Emma Roberts, Jessy Schram, and Carey Mulligan.
Tom Hardy as Eames, a sharp-tongued associate of Cobb's. He is referred to as a fence but his speciality is forgery, more accurately identity theft. Eames uses his ability to impersonate others inside the dream world in order to manipulate Fischer. Hardy described his character as "an old, Graham Greene-type diplomat; sort of faded, shabby, grandeur – the old Shakespeare lovey mixed with somebody from Her Majesty's Special Forces", who wears "campy, old money" costumes.[21]
Ken Watanabe as Mr. Saito, a Japanese businessman who employs Cobb for the team's mission. Nolan wrote the role with Watanabe in mind, as he wanted to work with him again after Batman Begins.[22] Inception is Watanabe's first work in a contemporary setting where his primary language is English. Watanabe tried to emphasize a different characteristic of Saito in every dream level – "First chapter in my castle, I pick up some hidden feelings of the cycle. It's magical, powerful and then the first dream. And back to the second chapter, in the old hotel, I pick up [being] sharp and more calm and smart and it's a little bit [of a] different process to make up the character of any movie".[23]
Dileep Rao as Yusuf. Rao describes Yusuf as "an avant-garde pharmacologist, who is a resource for people, like Cobb, who want to do this work unsupervised, unregistered and unapproved of by anyone". Co-producer Jordan Goldberg said the role of the chemist was "particularly tough because you don't want him to seem like some kind of drug dealer", and that Rao was cast for being "funny, interesting and obviously smart".[24]
Cillian Murphy as Robert Michael Fischer, the heir to a business empire and the team's target.[22] Murphy said Fischer was portrayed as "a petulant child who's in need of a lot of attention from his father, he has everything he could ever want materially, but he's deeply lacking emotionally". The actor also researched the sons of Rupert Murdoch, "to add to that the idea of living in the shadow of someone so immensely powerful".[25]
Tom Berenger as Peter Browning, Robert Fischer's godfather and fellow executive at the Fischers' company.[1] Berenger said Browning acts as a "surrogate father" to Robert, who calls the character "Uncle Peter", and emphasized that "Browning has been with [Robert] his whole life and has probably spent more quality time with him than his own father".[24]
Marion Cotillard as Mal Cobb, Dom's deceased wife. She is a manifestation of Dom's guilt about the real cause of Mal's suicide. He is unable to control these projections of her, challenging his abilities as an extractor.[15] Nolan described Mal as "the essence of the femme fatale," and DiCaprio praised Cotillard's performance saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".[26]
Pete Postlethwaite as Maurice Fischer, Robert Fischer's father and the dying founder of a business empire. The film became the first of Postlethwaite's final three film roles before his death in early 2011.
Michael Caine as Prof. Stephen Miles, Cobb's mentor and father-in-law,[24] and Ariadne's college professor who recommends her to the team.[27]
Lukas Haas as Nash, an architect in Cobb's employment who betrays the team and is later replaced by Ariadne.[28]
Talulah Riley as a woman whom Eames disguises himself as in a dream. Riley liked the role, despite it being minimal – "I get to wear a nice dress, pick up men in bars, and shove them in elevators. It was good to do something adultish. Usually I play 15-year-old English schoolgirls."[29]
Production[edit]
Development[edit]



 Emma Thomas and Christopher Nolan answer questions about Inception. The husband and wife team produced the film through their company Syncopy Films. Nolan also wrote and directed it.
Initially, Nolan wrote an 80-page treatment about dream-stealers.[30] Originally, Nolan had envisioned Inception as a horror film,[30] but eventually wrote it as a heist film even though he found that "traditionally [they] are very deliberately superficial in emotional terms."[31] Upon revisiting his script, he decided that basing it in that genre did not work because the story "relies so heavily on the idea of the interior state, the idea of dream and memory. I realized I needed to raise the emotional stakes."[31] Nolan worked on the script for nine to ten years.[14] When he first started thinking about making the film, Nolan was influenced by "that era of movies where you had The Matrix (1999), you had Dark City (1998), you had The Thirteenth Floor (1999) and, to a certain extent, you had Memento (2000), too. They were based in the principles that the world around you might not be real."[31][32]
Nolan first pitched the film to Warner Bros. in 2001, but then felt that he needed more experience making large-scale films, and embarked on Batman Begins and The Dark Knight.[7] He soon realized that a film like Inception needed a large budget because "as soon as you're talking about dreams, the potential of the human mind is infinite. And so the scale of the film has to feel infinite. It has to feel like you could go anywhere by the end of the film. And it has to work on a massive scale."[7] After making The Dark Knight, Nolan decided to make Inception and spent six months completing the script.[7] Nolan states that the key to completing the script was wondering what would happen if several people shared the same dream. "Once you remove the privacy, you've created an infinite number of alternative universes in which people can meaningfully interact, with validity, with weight, with dramatic consequences."[33]
Leonardo DiCaprio was the first actor to be cast in the film.[14] Nolan had been trying to work with the actor for years and met him several times, but was unable to convince him to appear in any of his films until Inception. DiCaprio finally agreed because he was "intrigued by this concept—this dream-heist notion and how this character's going to unlock his dreamworld and ultimately affect his real life."[34] He read the script and found it to be "very well written, comprehensive but you really had to have Chris in person, to try to articulate some of the things that have been swirling around his head for the last eight years."[7] DiCaprio and Nolan spent months talking about the screenplay. Nolan took a long time re-writing the script in order "to make sure that the emotional journey of his character was the driving force of the movie."[14] On February 11, 2009, it was announced that Warner Bros. purchased Inception, a spec script written by Nolan.[8]
Locations and sets [edit]
Principal photography began in Tokyo on June 19, 2009, with the scene where Saito first hires Cobb during a helicopter flight over the city.[30][35]
The production moved to the United Kingdom and shot in a converted airship hangar in Cardington, Bedfordshire, north of London.[36] There, the hotel bar set which tilted 30 degrees was built.[37] A hotel corridor was also constructed by Guy Hendrix Dyas, the production designer, Chris Corbould, the special effects supervisor, and Wally Pfister, the director of photography; it rotated a full 360 degrees to create the effect of alternate directions of gravity for scenes set during the second level of dreaming, where dream-sector physics become chaotic. The idea was inspired by a technique used in Stanley Kubrick's 2001: A Space Odyssey (1968). Nolan said, "I was interested in taking those ideas, techniques, and philosophies and applying them to an action scenario".[38] The filmmakers originally planned to make the hallway only 40 ft (12 m) long, but as the action sequence became more elaborate, the hallway's length grew to 100 ft (30 m). The corridor was suspended along eight large concentric rings that were spaced equidistantly outside its walls and powered by two massive electric motors.[36] Joseph Gordon-Levitt, who plays Arthur, spent several weeks learning to fight in a corridor that spun like "a giant hamster wheel".[31] Nolan said of the device, "It was like some incredible torture device; we thrashed Joseph for weeks, but in the end we looked at the footage, and it looks unlike anything any of us has seen before. The rhythm of it is unique, and when you watch it, even if you know how it was done, it confuses your perceptions. It's unsettling in a wonderful way".[31] Gordon-Levitt remembered, "it was six-day weeks of just, like, coming home at night battered ... The light fixtures on the ceiling are coming around on the floor, and you have to choose the right time to cross through them, and if you don't, you're going to fall."[39] On July 15, 2009, filming took place at University College London for the sequences occurring inside a Paris college of architecture in the story,[30] including the library, Flaxman Gallery and Gustav Tuck Theatre.[40]
Filming moved to France where they shot Cobb entering the college of architecture (the place used for the entrance was the Musée Galliera) and the pivotal scenes between Ariadne and Cobb, in a bistro (a fictional one set up at the corner of Rue César Franck and Rue Bouchut) and then on the Bir-Hakeim bridge.[41] For the explosion that takes place during the bistro scene, the local authorities would not allow the actual use of explosives. High-pressure nitrogen was used to create the effect of a series of explosions. Pfister used six high-speed cameras to capture the sequence from different angles and make sure that they got the shot. The visual effects department then enhanced the sequence, adding more destruction and flying debris. For the "Paris folding" sequence and when Ariadne "creates" the bridges, green screen and CGI were used on location.[41]
Tangier, Morocco, doubled as Mombasa, where Cobb hires Eames and Yusuf. A foot chase was shot in the streets and alleyways of the historic medina quarter.[42] To capture this sequence, Pfister employed a mix of hand-held camera and steadicam work.[43] Tangier was also used to film an important riot scene during the initial foray into Saito's mind.
Filming moved to the Los Angeles area, where some sets were built on a Warner Brothers sound stage, including the interior rooms of Saito's Japanese castle (the exterior was done on a small set built in Malibu beach). The dining room was inspired by the Nijo Castle built around 1603. These sets were inspired by a mix of Japanese architecture and Western influences.[43] The production also staged a multi-vehicle car chase on the streets of downtown Los Angeles, which involved a freight train crashing down the middle of a street.[44] To do this, the filmmakers configured a train engine on the chassis of a tractor trailer. The replica was made from fiberglass molds taken from authentic train parts and then matched in terms of color and design.[45] Also, the car chase was supposed to be set in the midst of a downpour but the L.A. weather stayed typically sunny. The filmmakers were forced to set up elaborate effects (e.g., rooftop water cannons) to give the audience the impression that the weather was overcast and soggy. L.A. was also the site of the climactic scene where a Ford Econoline van flies off the Schuyler Heim Bridge in slow motion.[46] This sequence was filmed on and off for months with the van being shot out of a cannon, according to actor Dileep Rao. Capturing the actors suspended within the van in slow motion took a whole day to film. Once the van landed in the water, the challenge for the actors was not to panic. "And when they ask you to act, it's a bit of an ask," explained Cillian Murphy.[46] The actors had to be underwater for four to five minutes while drawing air from scuba tanks; underwater buddy breathing is shown in this sequence.[46] Cobb's house was in Pasadena. The hotel lobby was filmed at the CAA building in Century City. Limbo was made on location in Los Angeles and Morocco with the beach scene filmed at Palos Verdes beach with CGI buildings. N Hope St. in Los Angeles was the primary filming location for Limbo, with green screen and CGI being used to create the dream landscape.
The final phase of principal photography took place in Alberta in late November 2009. The location manager discovered a temporarily closed ski resort, Fortress Mountain.[47] An elaborate set was assembled near the top station of the Canadian chairlift, taking three months to build.[48] The production had to wait for a huge snowstorm, which eventually arrived.[30] The ski-chase sequence was inspired by Nolan's favorite James Bond film, On Her Majesty's Secret Service (1969): "What I liked about it that we've tried to emulate in this film is there's a tremendous balance in that movie of action and scale and romanticism and tragedy and emotion."[49]
Cinematography[edit]
The film was shot primarily in the anamorphic format on 35 mm film, with key sequences filmed on 65 mm, and aerial sequences in VistaVision. Nolan did not shoot any footage with IMAX cameras as he had with The Dark Knight. "We didn't feel that we were going to be able to shoot in IMAX because of the size of the cameras because this film given that it deals with a potentially surreal area, the nature of dreams and so forth, I wanted it to be as realistic as possible. Not be bound by the scale of those IMAX cameras, even though I love the format dearly".[14] In addition Nolan and Pfister tested using Showscan and Super Dimension 70 as potential large format high frame rate camera systems to use for the film, but ultimately decided against either format.[37] Sequences in slow motion were filmed on a Photo-Sonics 35mm camera at speeds of up to 1000 frames per second. Wally Pfister tested shooting some of these sequences using a high speed digital camera, but found the format to be too unreliable due to technical glitches. "Out of six times that we shot on the digital format, we only had one useable piece and it didn't end up in the film. Out of the six times we shot with the Photo-Sonics camera and 35mm running through it, every single shot was in the movie."[50] Nolan also chose not to shoot any of the film in 3D as he prefers shooting on film[14] using prime lenses, which is not possible with 3D cameras.[51] Nolan has also criticised the dim image that 3D projection produces, and disputes that traditional film does not allow realistic depth perception, saying "I think it's a misnomer to call it 3D versus 2D. The whole point of cinematic imagery is it's three dimensional... You know 95% of our depth cues come from occlusion, resolution, color and so forth, so the idea of calling a 2D movie a '2D movie' is a little misleading."[52] Nolan did test converting Inception into 3D in post-production but decided that, while it was possible, he lacked the time to complete the conversion to a standard he was happy with.[30][52] In February 2011 Jonathan Liebesman suggested that Warner Bros were attempting a 3D conversion for Blu-ray release.[53]
Wally Pfister gave each location and dream level a distinctive look: the mountain fortress appears sterile and cool, the hotel hallways have warm hues, and the scenes in the van are more neutral.[54] This was done to aid the audience's recognition of the narrative's location during the heavily crosscut portion of the film.[54]
Nolan has said that the film "deals with levels of reality, and perceptions of reality which is something I'm very interested in. It's an action film set in a contemporary world, but with a slight science-fiction bent to it," while also describing it as "very much an ensemble film structured somewhat as a heist movie. It's an action adventure that spans the globe".[55]
Visual effects[edit]
For dream sequences in Inception, Nolan used little computer-generated imagery, preferring practical effects whenever possible. Nolan said, "It's always very important to me to do as much as possible in-camera, and then, if necessary, computer graphics are very useful to build on or enhance what you have achieved physically."[56] To this end, visual effects supervisor Paul Franklin built a miniature of the mountain fortress set and then blew it up for the film. For the fight scene that takes place in zero gravity, he used CG-based effects to "subtly bend elements like physics, space and time."[57]
The most challenging effect was the "limbo" city level at the end of the film because it continually developed during production. Franklin had artists build concepts while Nolan gave his ideal vision: "Something glacial, with clear modernist architecture, but with chunks of it breaking off into the sea like icebergs".[57] Franklin and his team ended up with "something that looked like an iceberg version of Gotham City with water running through it."[57] They created a basic model of a glacier and then designers created a program that added elements like roads, intersections and ravines until they had a complex, yet organic-looking, cityscape. For the Paris-folding sequence, Franklin had artists producing concept sketches and then they created rough computer animations to give them an idea of what the sequence looked like while in motion. Later during principal photography, Nolan was able to direct Leonardo DiCaprio and Ellen Page based on this rough computer animation Franklin had created. Inception had close to 500 visual effects shots (in comparison, Batman Begins had approximately 620) which is considered minor in comparison to contemporary visual effects epics that can have around 1,500 or 2,000 special effects images.[57]
Music[edit]
Main article: Inception (soundtrack)
The score for Inception was written by Hans Zimmer,[1] who described his work as "a very electronic,[58] dense score",[59] filled with "nostalgia and sadness" to match Cobb's feelings throughout the film.[60] The music was written simultaneously to filming,[59] and features a guitar sound reminiscent of Ennio Morricone, played by Johnny Marr, former guitarist of The Smiths. Édith Piaf's "Non, je ne regrette rien" ("No, I Do Not Regret Anything") pointedly appears throughout the film, used to accurately time the dreams, and Zimmer reworked pieces of the song into cues of the score.[60] A soundtrack album was released on July 11, 2010 by Reprise Records.[61] The majority of the score was also included in high resolution 5.1 surround sound on the 2nd disc of the 2 disc Blu-ray release [62] Hans Zimmer's music was nominated for an Academy Award in the Best Original Score category in 2011, losing to Trent Reznor and Atticus Ross of The Social Network.[63]
Themes[edit]
Reality and dreams[edit]

A staircase in a square format. The stairs make four 90-degree turns in each corner, so they are in the format of a continuous loop.

Penrose stairs are incorporated into the film as an example of the impossible objects that can be created in lucid dream worlds.
In Inception, Nolan wanted to explore "the idea of people sharing a dream space...That gives you the ability to access somebody's unconscious mind. What would that be used and abused for?"[14] The majority of the film's plot takes place in these interconnected dream worlds. This structure creates a framework where actions in the real or dream worlds ripple across others. The dream is always in a state of production, and shifts across the levels as the characters navigate it.[64] By contrast, the world of The Matrix (1999) is an authoritarian, computer-controlled one, alluding to theories of social control developed by Michel Foucault and Jean Baudrillard. Nolan's world has more in common with the works of Gilles Deleuze and Félix Guattari.[64]
David Denby in The New Yorker compared Nolan's cinematic treatment of dreams to Luis Buñuel's in Belle de Jour (1967) and The Discreet Charm of the Bourgeoisie (1972).[65] He criticised Nolan's "literal-minded" action level sequencing compared to Buñuel, who "silently pushed us into reveries and left us alone to enjoy our wonderment, but Nolan is working on so many levels of representation at once that he has to lay in pages of dialogue just to explain what's going on." The latter captures "the peculiar malign intensity of actual dreams."[65]
Deirdre Barrett, a dream researcher at Harvard University, said that Nolan did not get every detail accurate regarding dreams, but their illogical, rambling, disjointed plots would not make for a great thriller anyway. However, "he did get many aspects right," she said, citing the scene in which a sleeping Cobb is shoved into a full bath, and in the dream world water gushes into the windows of the building, waking him up. "That's very much how real stimuli get incorporated, and you very often wake up right after that intrusion".[66]
Nolan himself said, "I tried to work that idea of manipulation and management of a conscious dream being a skill that these people have. Really the script is based on those common, very basic experiences and concepts, and where can those take you? And the only outlandish idea that the film presents, really, is the existence of a technology that allows you to enter and share the same dream as someone else."[31]
Dreams and cinema[edit]
Others have argued that the film is itself a metaphor for film-making, and that the filmgoing experience itself, images flashing before one's eyes in a darkened room, is akin to a dream. Writing in Wired, Jonah Lehrer supported this interpretation and presented neurological evidence that brain activity is strikingly similar during film-watching and sleeping. In both, the visual cortex is highly active and the prefrontal cortex, which deals with logic, deliberate analysis, and self-awareness, is quiet.[67] Paul argued that the experience of going to a picturehouse is itself an exercise in shared dreaming, particularly when viewing Inception: the film's sharp cutting between scenes forces the viewer to create larger narrative arcs to stitch the pieces together. This demand of production parallel to consumption of the images, on the part of the audience is analogous to dreaming itself. As in the film's story, in a cinema one enters into the space of another's dream, in this case Nolan's, as with any work of art, one's reading of it is ultimately influenced by one's own subjective desires and subconscious.[64] At Bir-Hakeim bridge in Paris, Ariadne creates an illusion of infinity by adding facing mirrors underneath its struts, Stephanie Dreyfus in la Croix asked "Is this not a strong, beautiful metaphor for the cinema and its power of illusion?"[68]
Cinematic technique[edit]
Genre[edit]



 Marion Cotillard photographed by Studio Harcourt, Paris, in 1999. She plays Mal, a projection of Cobb's subconscious guilt about his beloved wife's suicide. Nolan described the character as "the essence of the femme fatale"–a key trope in film noir.[69]
Nolan combined elements from several different film genres into the film, notably science fiction, heist film, and film noir. Marion Cotillard plays "Mal" Cobb, Dom Cobb's projection of his guilt over his deceased wife's suicide. As the film's main antagonist, she is a frequent, malevolent presence in his dreams. Dom is unable to control these projections of her, challenging his abilities as an extractor.[15] Nolan described Mal as "the essence of the femme fatale",[69] the key noir reference in the film. As a "classic femme fatale" her relationship with Cobb is in his mind, a manifestation of Cobb's own neurosis and fear of how little he knows about the woman he loves.[70] DiCaprio praised Cotillard's performance saying that "she can be strong and vulnerable and hopeful and heartbreaking all in the same moment, which was perfect for all the contradictions of her character".[22]
Nolan began with the structure of a heist movie, since exposition is an essential element of that genre, though adapted it to have a greater emotional narrative suited to the world of dreams and subconscious.[70] Or, as Denby surmised, "the outer shell of the story is an elaborate caper".[65] Kirstin Thompson argued that exposition was a major formal device in the film. While a traditional heist movie has a heavy dose of exposition at the beginning as the team assembles and the leader explains the plan, in Inception this becomes nearly continuous as the group progresses through the various levels of dreaming.[71] Three-quarters of the film, until the van begins to fall from the bridge, are devoted to explaining its plot. In this way, exposition takes precedence over characterisation. Their relationships are created by their respective skills and roles. Ariadne, like her ancient namesake, creates the maze and guides the others through it, but also helps Cobb navigate his own subconscious, and as the sole student of dream sharing, helps the audience understand the concept of the plot.[72]
Nolan drew inspiration from the works of Jorge Luis Borges,[30][73] the anime film Paprika (2006) by the late Satoshi Kon as an influence on the character "Ariadne", and Blade Runner (1982) by Ridley Scott.[74]
Ending[edit]
The film cuts to the closing credits from a shot of the top beginning to wobble (but not falling), inviting speculation about whether the final sequence was reality or another dream. Nolan confirmed that the ambiguity was deliberate, saying "I've been asked the question more times than I've ever been asked any other question about any other film I've made... What's funny to me is that people really do expect me to answer it."[75] The film's script concludes with "Behind him, on the table, the spinning top is STILL SPINNING. And we – FADE OUT"[76] However, Christopher Nolan also said, "I put that cut there at the end, imposing an ambiguity from outside the film. That always felt the right ending to me – it always felt like the appropriate 'kick' to me... The real point of the scene—and this is what I tell people—is that Cobb isn't looking at the top. He's looking at his kids. He's left it behind. That's the emotional significance of the thing."[75]
In September 2010, Michael Caine, explained his interpretation of the ending, "If I'm there it's real, because I'm never in the dream. I'm the guy who invented the dream."[77] Nolan himself noted that "I choose to believe that Cobb gets back to his kids, because I have young kids. People who have kids definitely read it differently than those who don't".[70] He indicated that the top was not the most crucial element of the ending, saying "I've read plenty of very off-the-wall interpretations... The most important emotional thing about the top spinning at the end is that Cobb is not looking at it. He doesn't care."[70]
Mark Fisher argued that "a century of cultural theory" cautions against accepting the author's interpretation as anything more than a supplementary text, and this all the more so given the theme of the instability of any one master position in Nolan's films. Therein the manipulator is often the one who ends up manipulated and Cobb's "not caring" about whether or not his world is real may be the price of happiness and release.[78]
Release[edit]
Marketing[edit]
Warner Bros. spent $100 million marketing the film. Although Inception was not part of an existing franchise, Sue Kroll, president of Warner's worldwide marketing, said the company believed it could gain awareness due to the strength of "Christopher Nolan as a brand". Kroll declared that "We don't have the brand equity that usually drives a big summer opening, but we have a great cast and a fresh idea from a filmmaker with a track record of making incredible movies. If you can't make those elements work, it's a sad day."[79] The studio also tried to maintain a campaign of secrecy—as reported by the Senior VP of Interactive Marketing, Michael Tritter, "You have this movie which is going to have a pretty big built in fanbase... but you also have a movie that you are trying to keep very secret. Chris [Nolan] really likes people to see his movies in a theater and not see it all beforehand so everything that you do to market that—at least early on—is with an eye to feeding the interest to fans."[80]
A viral marketing campaign was employed for the film. After the revelation of the first teaser trailer, in August 2009, the film's official website featured only an animation of Cobb's spinning top. In December, the top toppled over and the website opened the online game Mind Crime, which upon completion revealed Inception's poster.[81] The rest of the campaign unrolled after WonderCon in April 2010, where Warner gave away promotional T-shirts featuring the PASIV briefcase used to create the dream space, and had a QR code linking to an online manual of the device.[82] Mind Crime also received a stage 2 with more resources, including a hidden trailer for the movie.[83] More pieces of viral marketing began to surface before Inception's release, such as a manual filled with bizarre images and text sent to Wired magazine,[84] and the online publication of posters, ads, phone applications, and strange websites all related to the film.[85][86] Warner also released an online prequel comic, Inception: The Cobol Job.[87]
The official trailer released on May 10, 2010 through Mind Game was extremely well received.[83] It featured an original piece of music, "Mind Heist", by recording artist Zack Hemsey,[88] rather than music from the score.[89] The trailer quickly went viral with numerous mashups copying its style, both by amateurs on sites like YouTube[90] and by professionals on sites such as CollegeHumor.[91][92] On June 7, 2010, a behind-the-scenes featurette on the film was released in HD on Yahoo! Movies.[93]
Home media[edit]
Inception was released on DVD and Blu-ray on December 3, 2010, in France,[94] and the week after in the UK and USA (December 7, 2010).[95][96] Warner Bros. also made available in the United States a limited Blu-ray edition packaged in a metal replica of the PASIV briefcase, which included extras such as a metal replica of the spinning top totem. With a production run of less than 2000, it sold out in one weekend.[97]
Putative video game[edit]
In a November 2010 interview, Nolan expressed his intention to develop a video game set in the Inception world, working with a team of collaborators. He described it as "a longer-term proposition", referring to the medium of video games as "something I've wanted to explore".[98]
Possible sequels[edit]
When asked if there will be a sequel, Nolan responded “It’s not something I want to say no to, but it’s not something I’ve given a lot of thought about.”[99] Tom Hardy said he and the rest of the cast had signed on for possible sequels, but is unsure if there will be any.[100]
Reception[edit]
Box office earnings[edit]

Film
Release date
Box office revenue
Box office ranking
Budget
Reference

United States
United States
International
Worldwide
All time United States
All time worldwide
Inception July 2010 $292,576,195 $532,956,569 $825,532,764 No. 43 No. 37 $160,000,000 [101]
Inception was released in both conventional and IMAX theaters on July 16, 2010.[10][102] The film had its world premiere at Leicester Square in London, United Kingdom on July 8, 2010.[103] In the United States and Canada, Inception was released theatrically in 3,792 conventional theaters and 195 IMAX theaters.[10] The film grossed $21.8 million during its opening day on July 16, 2010, with midnight screenings in 1,500 locations.[104] Overall the film made $62.7 million and debuted at No.1 on its opening weekend.[105] Inception's opening weekend gross made it the second-highest-grossing debut for a science-fiction film that was not a sequel, remake or adaptation, behind Avatar's $77 million opening weekend gross in 2009.[105] The film held the top spot of the box office rankings in its second and third weekends, with drops of just 32% ($42.7 million) and 36% ($27.5 million) respectively,[106][107] before dropping to second place in its fourth week, behind The Other Guys.[108]
Inception grossed US$292 million in the United States and Canada, US$56 million in the United Kingdom, Ireland and Malta and US$475 million in other countries for a total of $823 million.[5] Its five highest-grossing markets after the USA and Canada (US$292) were China (US$68million), the United Kingdom, Ireland and Malta (US$56 million), France and the Maghreb region (US$43 million), Japan (US$40 million) and South Korea (US$38 million).[109] It was the sixth-highest grossing film of 2010 in North America,[110] and the fourth-highest internationally, behind Toy Story 3, Alice in Wonderland and Harry Potter and the Deathly Hallows - Part 1.[111] The film currently stands as the 38th-highest-grossing of all time.[112] Inception is the third most lucrative production in Christopher Nolan's career—behind The Dark Knight and The Dark Knight Rises[113]— and the second most for Leonardo DiCaprio—behind Titanic.[114]
Critical reception[edit]
 Inception received critical acclaim. Rotten Tomatoes gives the film a score of 86% based on reviews from 284 critics, with an average score of 8/10. The website reported the critical consensus as "smart, innovative, and thrilling, Inception is that rare summer blockbuster that succeeds viscerally as well as intellectually."[115] Metacritic, another review aggregator, assigned the film a weighted average score of 74 (out of 100) based on 42 reviews from mainstream critics, considered to be "generally favorable reviews."[116] In polls conducted by CinemaScore during the opening weekend cinemagoers gave Inception an average score of "B+".[117]
While some critics have tended to view the film as perfectly straightforward, and even criticize its overarching themes as "the stuff of torpid platitudes," online discussion has been much more positive.[118] Heated debate has centered on the ambiguity of the ending, with many critics like Devin Faraci making the case that the film is self-referential and tongue-in-cheek, both a film about film-making and a dream about dreams.[119] Other critics read Inception as Christian allegory and focus on the film's use of religious and water symbolism.[120] Yet other critics, such as Kirsten Thompson[who?], see less value in the ambiguous ending of the film and more in its structure and novel method of storytelling, highlighting Inception as a new form of narrative that revels in "continuous exposition".[121]
Whatever its meaning, the film has had excellent reviews in general. Perhaps playing off the film's game imagery, Rolling Stone magazine's Peter Travers called Inception a "wildly ingen­ious chess game," and concluded "the result is a knockout."[122] In Variety, Justin Chang praised the film as "a conceptual tour de force" and wrote, "applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the unconscious mind, the writer-director has devised a heist thriller for surrealists, a Jungian's Rififi, that challenges viewers to sift through multiple layers of (un)reality."[3] Jim Vejvoda of IGN rated the film as perfect, deeming it "a singular accomplishment from a filmmaker who has only gotten better with each film."[123] Relevant Magazine's David Roark called it Nolan's greatest accomplishment, saying, "Visually, intellectually and emotionally, Inception is a masterpiece."[124]
Empire magazine rated it five stars in the August 2010 issue and wrote, "it feels like Stanley Kubrick adapting the work of the great sci-fi author William Gibson ... Nolan delivers another true original: welcome to an undiscovered country."[125] Entertainment Weekly gave the film a B+ rating and Lisa Schwarzbaum wrote, "It's a rolling explosion of images as hypnotizing and sharply angled as any in a drawing by M.C. Escher or a state-of-the-biz videogame; the backwards splicing of Nolan's own Memento looks rudimentary by comparison."[126] The New York Post gave the film a four-star rating and Lou Lumenick wrote, "DiCaprio, who has never been better as the tortured hero, draws you in with a love story that will appeal even to non-sci-fi fans."[127] Roger Ebert of the Chicago Sun-Times awarded the film a full four stars and said that Inception "is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act."[128] Richard Roeper, also of the Sun-Times, gave Inception a perfect score of "A+" and called it "one of the best movies of the [21st] century."[129]
BBC Radio 5 Live's Mark Kermode named Inception as the best film of 2010, stating "Inception is proof that people are not stupid, that cinema is not trash, and that it is possible for blockbusters and art to be the same thing."[130]
In his review for the Chicago Tribune, Michael Phillips gave the film 3 stars out of 4 and wrote, "I found myself wishing Inception were weirder, further out ... the film is Nolan's labyrinth all the way, and it's gratifying to experience a summer movie with large visual ambitions and with nothing more or less on its mind than (as Shakespeare said) a dream that hath no bottom."[131] Time magazine's Richard Corliss wrote the film's "noble intent is to implant one man's vision in the mind of a vast audience ... The idea of moviegoing as communal dreaming is a century old. With Inception, viewers have a chance to see that notion get a state-of-the-art update."[132] Los Angeles Times' Kenneth Turan felt that Nolan was able to blend "the best of traditional and modern filmmaking. If you're searching for smart and nervy popular entertainment, this is what it looks like."[133] USA Today rated the film three-and-a-half stars out of four and Claudia Puig felt that Nolan "regards his viewers as possibly smarter than they are—or at least as capable of rising to his inventive level. That's a tall order. But it's refreshing to find a director who makes us stretch, even occasionally struggle, to keep up."[134]
Not all reviewers gave the film positive reviews. New York magazine's David Edelstein claimed in his review to "have no idea what so many people are raving about. It's as if someone went into their heads while they were sleeping and planted the idea that Inception is a visionary masterpiece and—hold on ... Whoa! I think I get it. The movie is a metaphor for the power of delusional hype—a metaphor for itself."[135] Rex Reed of The New York Observer explained the film's development as "pretty much what we've come to expect from summer movies in general and Christopher Nolan movies in particular ... [it] doesn't seem like much of an accomplishment to me."[136] A. O. Scott of The New York Times commented "there is a lot to see in Inception, there is nothing that counts as genuine vision. Mr. Nolan's idea of the mind is too literal, too logical, and too rule-bound to allow the full measure of madness."[137] David Denby, writing in The New Yorker, considered the film not nearly as much fun as Nolan imagined it to be, concluding "Inception is a stunning-looking film that gets lost in fabulous intricacies, a movie devoted to its own workings and to little else."[65]
Several sources have noted many plot similarities between the film and the 2004 Uncle Scrooge comic The Dream of a Lifetime.[138][139][140]
In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their ninth favorite film of all time.[141] In 2012, Inception was ranked the 35th Best Edited Film of All Time by the Motion Picture Editors Guild.[142] In the same year, Total Film named it the most rewatchable movie of all time.[143]
Accolades[edit]
Main article: List of accolades received by Inception
Inception appeared on over 273 critics' lists of the top ten films of 2010, being picked as No.1 on 55 of those lists. It was the second most mentioned film behind The Social Network and one of the most critically acclaimed films of 2010, alongside the former, The King's Speech and Black Swan.[144]
The film won many awards in technical categories, such as Academy Awards for Best Cinematography, Best Sound Editing, Best Sound Mixing, and Best Visual Effects,[63] and the British Academy Film Awards for Best Production Design, Best Special Visual Effects and Best Sound.[145] In most of its artistic nominations, such as Film, Director and Screenplay at the Oscars, BAFTAs and Golden Globes, the film was defeated by The Social Network and The King's Speech.[63][145][146] However, the film did win the two highest honors for a science fiction or fantasy film: the 2011 Bradbury Award for best dramatic production[147] and the 2011 Hugo Award for best dramatic presentation, long form.[148]
See also[edit]

Portal icon Film portal
Suggestion
References[edit]
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Further reading[edit]
Johnson, David Kyle (Editor); Irwin, William (Series Editor) (2011). Inception and Philosophy: Because It's Never Just a Dream. John Wiley & Sons. ISBN 1-118-07263-4.
Nolan, Christopher (Author); Nolan, Jonathan (Preface) (2010). Inception: The Shooting Script. Insight Editions. ISBN 1-60887-015-4.
Crawford, Kevin Ray (Author) (2012). The Rhetorics of the Time-Image: Deleuzian Metadiscourse on the Role of Nooshock Temporality (viz. "Inception") in Christopher Nolan's Cinema of the Brain. ProQuest LLC.
External links[edit]
 Wikiquote has a collection of quotations related to: Inception
 Wikimedia Commons has media related to Inception.
Official website
Inception at the Internet Movie Database
Inception at allmovie


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