Lapis Exilis wrote:
I don't get this criticism of the Nolan films. Batman has had a history of film noir/ true crime stylistics since the early 1940s, brought back strongly in the 1970s and utilized since then pretty regularly. He's also long been discussed as the least fantastic superhero. I don't see a clash between the style and the subject here anymore than I did when reading Year One or any of the Batman fights organized crime stories of the 70s. Personally I always find it jarring to read comics where Batman goes up against magical supervillains like Clayface, or to have him team up with super-powered heroes. He's always been a hard-boiled detective in cape to me.
Well for me, the best way to explain it is imagine you were watching 1971's The French Connection... and suddenly Batman
strolled into the scene and proceeded to have a conversation with Gene Hackman's character. You'd be like "What the FUCK?!? What is this guy in a ridiculous bat costume doing in this gritty, realistic crime thriller??"
Except neither Batman Begins or The Dark Knight are actually gritty, realistic crime thrillers. Ninjas in mountaintop monasteries plotting the destruction of the world's major cities? You ain't gonna find that in Scorcese. Neither will you find a bank with $68 million in cash in the vault but only 3 employees and no security guards, or psychotic guys in clown make up who can mysteriously survive an explosion that seems to kill everyone else in the room (Joker's escape from MCU), or guys who can have their eyeball survive a fire that burned off all the surrounding skin - not to mention a mayor who wears more eyeliner than I did in my Goth days, and is still taken seriously. These movies have the style and tone of realistic crime thrillers, but it's not just the hero that is unrealistic.
I guess I'm saying if you can buy all the other stuff in the story, what is it about the guy in the Batsuit that's throwing you off?