A requiem for Batfleck | Little White Lies

A requiem for Batfleck

10 Feb 2019

Words by Victoria Luxford

Caped figure stands before futuristic vehicle, dark silhouette against smoke-filled background.
Caped figure stands before futuristic vehicle, dark silhouette against smoke-filled background.
Ben Affleck’s short-lived Bat­man deserved bet­ter than to end up on the DC scrapheap.

Warn­er Bros recent­ly announced a major shake up of the DC Extend­ed Uni­verse, unveil­ing revised ver­sions of Sui­cide Squad and The Bat­man, the stand­alone Caped Cru­sad­er movie which was orig­i­nal­ly set to star and be writ­ten and direct­ed by Ben Affleck. The new film will focus on a younger Bruce Wayne/​Batman, effec­tive­ly end­ing Affleck’s two-and-a-bit film tenure. It’s sad news for those who had warmed to Affleck’s take on The Dark Knight, which defied ini­tial low expec­ta­tions. This uncer­e­mo­ni­ous exit leaves us pon­der­ing what might have been.

Affleck’s time in the cowl began inaus­pi­cious­ly, but the actor even­tu­al­ly suc­ceed­ed where so many oth­er fran­chis­es have failed by chang­ing fans’ per­cep­tions. His cast­ing drew uni­ver­sal deri­sion at first, as did ear­ly pro­mo­tion­al mate­r­i­al show­ing him in cos­tume. He was deemed too fat, too old, too sad, too… Ben Affleck to pull off the role. Yet when Bat­man v Super­man: Dawn of Jus­tice came around, he was one of the few aspects of the movie to draw praise.

Zack Snyder’s 2016 block­buster was an admit­ted­ly gloomy affair, weighed down by ridicu­lous plot twists and bizarre per­for­mances (here’s look­ing at you, Jesse Eisen­berg). It cer­tain­ly wasn’t a hit with crit­ics, but most agreed that Affleck bought some­thing to the char­ac­ter. His Bat­man was more bit­ter and bru­tal than before, with the jus­tice-dri­ven ide­al­ism worn away from years of fight­ing vil­lains. He even breaks his one rule’ in an ear­ly scene in which he’s shown tak­ing lives with aban­don, even going as far as brand­ing some­one with a batarang.

In short, this Bat­man had lost his faith, and that’s a fas­ci­nat­ing start­ing point for a char­ac­ter so famil­iar to audi­ences. Adopt­ing more vio­lent meth­ods (such as knock­ing out Harley Quinn in order to save her from drown­ing in Sui­cide Squad) may have not endeared him to purists, but it gave the char­ac­ter an arc that, at the very least, made him stand out in an over­stuffed sto­ry. The death of Super­man meant the redemp­tion of Bat­man. At least, that’s how it could have gone.

A person dressed as the superhero Batman talking to another person on the set of a film or TV production.

A bet­ter film­mak­er would have done more with the character’s des­per­a­tion and hope­less­ness, draw­ing a clear­er line between Batman’s loss of faith and Superman’s poten­tial to restore it. Instead, our heroes final­ly unite only because their moth­ers have the same name. Jus­tice league did lit­tle to make amends, with Wayne becom­ing a fig­ure of resent­ment for the team he assembled.

Still, Affleck’s per­for­mance intro­duced more humour to the role, and it was inter­est­ing to see a Bat­man with more time behind than ahead of him. In the midst of young, chis­elled demi-gods stood a mere mor­tal who bruised eas­i­er than the rest. You can’t do this for­ev­er,” Won­der Woman tells him at one point, to which he admits, I can bare­ly do it now.”

Bat­man v Super­man and Jus­tice League may have been poor­ly received enough to con­vince Warn­er Bros to go in anoth­er direc­tion, as the stu­dio report­ed­ly has with oth­er char­ac­ters (any future Super­man movies are yet to be con­firmed). How­ev­er, it seems a wast­ed oppor­tu­ni­ty giv­en Affleck’s Bat­man was always part of a much big­ger sto­ry than his own, crammed with char­ac­ters he was forced to share the screen with. It’s worth not­ing, too, that the most suc­cess­ful addi­tions to the DCEU were solo out­ings: Won­der Woman and Aqua­man both struck gold with­out any­one else’s help. Could the orig­i­nal plan for The Bat­man have fol­lowed that trend?

Despite past fail­ings, there’s every rea­son to believe so. Hav­ing Affleck remain in the lead while tak­ing the reins as writer/​director was an excit­ing propo­si­tion. Lest we for­get, Affleck has proven him­self an accom­plished film­mak­er in his own right with Gone Baby Gone and The Town, com­ing to the role of Bat­man not long after win­ning Best Pic­ture at the Oscars for Argo. That’s a pret­ty strong CV, and such a mul­ti-faceted approach hasn’t been seen in the super­hero genre before. Left to his own devices, with­out being shack­led to an extend­ed uni­verse, the project could have been Affleck’s mag­num opus.

There’s every chance that Warn­er Bros will take some ele­ments of Affleck’s idea and recal­i­brate The Bat­man in the same way they appear to have done with Todd Phillips’ forth­com­ing Jok­er. In any case, it would appear that Affleck is a vic­tim of cir­cum­stance, judged for the fail­ure of oth­ers rather than his own. Hard though it can be to feel sym­pa­thy for a Oscar-win­ning mil­lion­aire, sure­ly Bat­fleck deserved one more chance.

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