Christopher Nolan
Batman Begins

 "Why bats, sir?" 

"Because they SCARE me" 

When, on that cold January 3rd in 2004, filming began for "Batman Begins", the fifth film in the cinematic adventure series dedicated to the caped crusader, few probably had faith in it. Partly because the genre of the famous comic book hero seemed to have been exhausted for years (at least on the big screen), partly due to the unfortunate last two efforts of the poor Joel Schumacher (especially "Batman & Robin", incredibly ridiculous), and partly because even rather established actors had failed in the role of Bruce Wayne/Batman (the low point was reached with an unlikely Clooney). So, what to do?

 The considerable pressure, also due to a "bold" budget ($150,000,000), ensured that director Christopher Nolan played it safe, at least with the cast. Just look at the names: Christian Bale (amazing in the previous "The Machinist") in the dual pivotal role of Bruce/Batman, even Michael Caine (Alfred), Liam Neeson (Ducard/Ra's Al Ghul), Gary Oldman (Sergeant Gordon), Morgan Freeman (Lucius Fox), Rutger Hauer. The only poor actress seemed to be the beautiful Katie Holmes in the role of Rachel Dawes, who, incidentally, was replaced for the next "Batman - The Dark Knight" by Maggie Gyllenhaal (fun fact: she is the sister of the Gyllenhaal from "Brokeback Mountain," co-star of Heath Ledger who will play Joker in the new film). A standout among them all: young actor Cillian Murphy ("Red Eye") delivers an extraordinary performance as Dr. Crane/Scarecrow, psychotic and distorted beyond belief, emerging as the film's greatest surprise.

The explosive mix of a cast, an inspired director, and a gripping story afforded the film great success, both critically and publicly, much deserved. The movie is a prequel that tells the story of how billionaire Bruce Wayne becomes Batman, from the death of his parents to his training in Tibet, up to his return to Gotham City and the subsequent fight against crime.

Nolan’s most convincing move is undoubtedly the recovery of certain dark atmospheres successfully initiated by the masterful Burton in the first two films, unfortunately ignored by Schumacher. Batman himself is darker, more determined and desperate, definitely not a tabloid caricature as in the previous two films. Emphasis is placed on what the bat must instill in the wicked: fear. The same fear that Bruce experiences as a child when, while playing hide and seek with his friend Rachel, he falls into a well and is surrounded by a multitude of those very animals that will one day become his symbol. The talent of the great actors involved does the rest, in a whirlwind of action and intrigue enriched by the presence of characters never seen in previous films (the Scarecrow, of course, but also the mob boss Carmine Falcone - an undoubtedly inappropriate and distasteful surname given the character's role - and Ducard).

 A good film, which does not reach the heights achieved by the first two works, but certainly revives a Batman that seemed to have been reduced to a circus attraction.