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When Bruce turns against Ra’s’ League of Shadows, he uses their lessons and his own ingrained experiences to craft what will become Batman. When one false Ra’s dies, he simply replaces them with another and on and on Ra’s lives.Īs a symbol I can be incorruptible, I can be everlasting. The false Ra’s preys on our expectations of course the leader of a far east warrior cult is a mysterious asian man. Liam Neeson’s Ra’s is introduced to us as a man named Henri Ducard, a mere servant of Ken Watanabe’s white bearded Ra’s Al Ghul. Further, Ra’s is seemingly unkillable because he hides behind human doubles. Unlike the literal immortality of his comics counterpart, Ra’s’ longevity is a philosophical one the implication being that this Ra’s Al Ghul is merely the latest holder of a title.
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Through Ra’s teachings, Bruce learns not only how to fight better, but how to make himself appear almost supernatural coming and going unseen, using distraction and, most importantly, the art of the false identity. Theatricality and deception are powerful agents against the uninitiated. When Bruce meets Ra’s Al Ghul, he spells out what will become the underlying concept that binds all three films A man is mortal, a symbol can become immortal. As Bruce’s mentor, Ra’s teaches him what will become the fundamentals of his war on crime.
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He’s bearded, unwashed and imprisoned, living without his wealth. Following the death of his parents and subsequent growth into a young man, Bruce has shed his Bruce Wayne identity while he travels through China. We watch him falter and fail.Īs the film begins, Bruce falls into a well on the grounds of Wayne Manor and he’s frightened by a nest of bats. We even watch Bruce literally build the Batman spray painting his suit, creating shell corporations to order the pieces needed for his armor, sharpening bat-a-rangs. Throughout the movie, Nolan walks us through the process of Bruce creating the Batman identity from its most abstract roots to the final, polished identity. Before we even get into the action, we are presented with a symbol. The first thing we see in Batman Begins is a giant writhing mass of bats, then a crude bat emblem forms out of them and into the “official” logo. Looking at each film in the series, there’s an interesting, overarching narrative created by the evolution of the Batman symbol, Bruce’s own legacy and the similar personas he is pitted against.
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The line between Batman and Bruce Wayne is an idea that’s been explored to some extent in comics, but is surprisingly glossed over in most of his movie and television incarnations. It’s no surprise then that one of the most developed and nuanced elements of Christopher Nolan’s Batman films is the creation and implementation of personas. As Christian Bale’s Alfred Borden notes in Nolan’s The Prestige, a movie almost totally concerned with the art of presentation: He’s a filmmaker who understands the power that comes from limiting what your audience sees. He records few deleted scenes and even fewer commentaries on his films.
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Christopher Nolan is a director whose work betrays an understanding and dedication to showmanship.