Batman Begins (Warning: Spoilers)

Why make another Batman movie? When did Batman become the James Bond of comic books? We've seen every permutation of the caped crusader: campy, brooding or just a blank for the next actor to fill. Still, I left work early to see it.

Although the plot screamed "Message!!,"* I appreciated the efforts that the writers took to distinguish justice from vengeance and reveal Bruce Wayne's psychological progress. Unfortunately the message was heavy-handed. "Batman is NOT A CRIMINAL!!! I repeat. HE IS NOT A CRIMINAL. Even though he is in a cave and has a huge stockpile of weapons, he will do what it takes to stop the evildoers."

In other words, Batman is like the CIA, a shadow arm for the police. His first mission is inspired by his childhood friend who just happens to be a DA and wants to crush the mob. He nearly gets drawn into a terrorist cell. His efforts to stop the mob lead him to a terrorist plot (covered by drug dealing) to destroy the citizens of Gotham. Because the terrorists' efforts to sabotage the economy failed, the terrorists are now forced to use airborne neurotoxins. By the end of the movie, he is clearly taking orders from the cops.

The writers unfortunately really lay it on thick when it comes to father figures for poor young Bruce Wayne. Will it be Liam Neeson with his fake mustache and goatee who apparently picked up some unfortunate Jedi speeches, but still cuts a majestic figure? Will it be Alfred who reminds him of his father's aphorisms and is always there, even to carry the strapping hero's luggage up the mansion's staircase (privileged little brat)? Will it be businessman Rutger Hauer who has been "managing" Wayne Enterprises? Are you a man? Would you like to be Brucie's daddy?

Also, I was tired of the writers' efforts to make us wonder whether or not Bruce will live up to the goods deeds of the Wayne family. Apparently the Waynes smuggled slaves by being part of the Underground Railroad and gave tons of money to develop much needed resources in Gotham during the Depression. His dad probably worked in the ER with Dr. Carter. What will Bruce do? Will he hold high the Wayne name? I'm sooooo worried about the Wayne legacy.

I did enjoy some comic touches. He is Batman because he is scared of bats. He behaves like an obnoxious playboy as cover for his real nocturnal activities. His second night of crimefighting ends with him falling out of a building in flames. Wait, was that supposed to be funny? I laughed. Also, a group of ninjas threaten Bruce's life. How does one stop one of these stealthy fighters? Get Alfred to bop the ninja over the head. Yes, be aware of your surroundings. Great job, ninja.

The narrative holes were inexcusable. What happened to the head DA after he gets stunned? Who knows? Did an antidote get spread to the infected part of town? Who cares?

The action scenes were great when shot from the perspective of the criminal when he is about to be swept away by Batman or as the criminal is facing Batman, but the key to an action movie is the same as a Fred Astaire movie: one must capture the entire movement of the body. Fighting is just dancing with the appearance of hurting the other person.

There were too many shots of people grunting just as a body blow was about to be delivered then reaction shots by the person who was hit, but the scenes did not really show the landing of punches. When Batman battles groups of criminals, the audience only sees a flurry of black cape. Batman's elegance is only caputured as his cape billows majestically beside or behind him.

I found it odd that an American pop cult classic was largely permeated with European actors: Christian Bale, Liam Neeson, Gary Oldman, Cillian Murphy, Tom Wilkinson and Rutger Hauer. (I'm not mentioning Michael Caine because a trusted butler usually hails from Great Britain.)

I may be one of the few people who saw American Psycho, but I thought that it was very brave for the casting agent to give Bale the lead. Bale is a great actor and possibly one of the few actors who has played such challenging roles prior to donning the mask. During his playboy scenes, I had unfortunate moments worrying about the two girls on his arm.

Michael Keaton is the best Batman, and when Bale announces, "I'm Batman," I couldn't stop remembering Keaton's performance. I may have been distracted by his great arms, but Bale did a decent job. At this point, playing Batman is like doing a passion play. What more can one do with the role? His parents die. He is rich, but unhappy. He stays up all night in one elaborate costume to constantly risk his life. If it was not for Keaton's memorable performance, I probably would have appreciated Bale's growl more.

Needless to say, Michael Caine and Morgan Freeman did fabulous jobs and showed lots of emotion. I was so happy to discover that Morgan Freeman was not cast as the inspirational Negro (yet again), but was the technological guru behind Batman.

I did not realize that I was so attached to Commissioner Gordon. When I realized that he would play a pivotal role, I almost wanted to scream and cheer. I am so excited that Gary Oldman finally got a chance to play a good guy or at least a character without serious psychological issues. Yeah, he can finally bring his kids to one of his movies.

I am disappointed that someone would cast Rutger Hauer then merely give him five lines. Sigh. I suppose something had to be cut, but I can still be sad.

Katie Holmes. If you don't have something nice to say......

Batman Begins is a welcome antidote to the film crimes perpetrated by Joel Schumacher although Tim Burton's crown is still safe. Overall, I think that it was a welcome edition to the franchise and a nice way to open the summer movie season.

*Don't Be a Menace to South Central While Drinking Your Juice in the Hood

Double Dare

I was spoiled by growing up with Wonder Woman and the Bionic Woman. In retrospect, these sheroes were nothing in comparison to their successors in the late nineties to early 21st century. My week was not complete unless I could see some woman kick serious butt, and there was iconic variety: Xena, Buffy and Syd, but I never gave much thought to how these physical feats were accomplished.

For example, I thought that most of the stuntwork in Xena was computerized. The stunts did not look realistic, and there was no way one person could do any of them. Leaping across a huge chasm, jumping from tree to tree or fighting on a moving ladder is obviously impossible. Buffy and Syd's stunts may have required careful editing, but the moves were still possible to execute given enough takes and flexibility, but Xena was just campy fun.

So I was transfixed by the first scene of Double Dare, an excellent documentary about two stuntwomen. It starts with Zoe Bell, the Xena stuntwoman, dressed in an immense red kimono and set on fire while being turned like a whirling dervish in mid-air and propelled into the other side of the room.

The film is mesmerizing. Jeannie Epper is in her sixties and may be best known for her work on Wonder Woman. She still does stuntwork despite donating her kidney to one of her actor friends. Double Dare shows Zoe at the end of her stint as Xena and facing the prospect of looking for her next gig as a stuntwoman and finally entering Hollywood. It may have taken a little finagling by the filmmakers, but Jeannie mentors and helps Zoe get her first film gig as Uma Thurman's stuntwoman in Kill Bill.

Even though Jeannie warns Zoe that Hollywood is full of phonies, this movie makes it seem possible to find a comfortable circle of friends. Perhaps that view is a testament to Jeannie's character. She helps Zoe meet casting people and even lets her stay in her house. Within a few seconds of their initial meeting, they whisper and confide in each other like family.

Still, life is not easy for a stuntwoman. It is unbelievable that Zoe could be unemployed after doing so many insane stunts on Xena. Jeannie is not chosen to be a stunt coordinator despite her vast expertise in the area and still has to hustle a job from the guys that she taught. There is no denying that Zoe and Jeannie are the best in the business, but the business seems slow to recognize it.

Stuntwomen still have to be concerned with their looks and weight more than their male counterparts. I was kind of annoyed when Lynda Carter, perhaps accurately, said that Jeannie had issues with self confidence. I'm sorry, but a woman in her sixties should not have to face whether or not she needs liposuction to continue hurling herself from cars. Stuntwomen are expected to be as buxom and beautiful as their "acting doubles."

Also, because the action heroine is expected to wear very little while kicking butt, the stuntwomen cannot put on as much protective gear as the stuntmen; thus stuntwomen are liable to suffer more serious injuries, which may have long term effects on their career.

This film only focuses on two of the many stuntwomen who add more excitement to our favorite movies and shows. As someone who has unwittingly enjoyed their work for years, I want to thank all the fearless stuntwomen for suffering through these problems and continuing to amaze us each week.