The idea of a fall is also traditional across the spiritual traditions. Adam's fall into sin has a disguised echo in Humpty-Dumpty who had a great fall, and John of the Cross, the Christian mystic of the Dark Night, who fell from a building. Jill's friend Jack also fell while trying to fetch a pail of water, perhaps the same water of vitality that Psyche had to fetch in order to come back to life (in the ancient tale of Eros and Psyche). Psyche, too, had fallen off a cliff to become Eros's lover. Shamans-to-be are sometimes recognized as spiritual leaders when they fall from a tree or some other high place. We fall into awareness of ourselves and into the complexities of our lives. So, the fall into the well is a wonderful start to the movie about Batman's beginnings.
But then the story shifts to an undefined mountainous spot in the East, where Batman is trained in ninja arts by the real villain of the film. Those who cherish Eastern wisdom and a deep sense of warrior might be disappointed by the phony wisdom and brutal notion of power associated with this Tibet-like region. In a sentimental scene we learn that Bruce doesn't fit in with the bad guys because he's compassionate and can't execute a prisoner. He takes a noble position, of course, but the scene takes him away from the dark and into sweet sunshine. I would have expected his schooling in the high Eastern mountains to deepen his mysteriousness.
There is much talk of fear and justice. Here, the solution to fear, becoming a warrior, means learning the skills to fight off a squad of ninja goons, a skill found in countless films having nothing to do with bats. Again, I was looking for the mystery of how the bat, an ancient image of the spiritual underworld, might be shown as the source of Batman's power. But in the film the bat image serves more as a logo. For a few moments we do see him swooping, comic-book fashion, through the air, and during these few seconds, when Bruce really seems transformed, I felt that Batman had finally appeared . But for the most part the movie merely duplicates old-fashioned sword-fighting scenes as updated and reproduced in all sorts of contemporary ultra-violent films such as Kill Bill.
Batman really begins in the comic book, a genre that is generally far more in the realm of imagination than fact. The comic book Batman, and even the Adam West Batman of television, were more figures of the imagination than life. These genres sweep us blessedly from this hard world of fact, so honored and worshipped by modern culture, to the deeper realities of fantasy and dream. Seeing the sociological Batman of this movie, his bat-nature explained as childhood trauma, I missed the old Batman and his crew, especially the stylized portrayal of the villains in Burgess Meredith's Penguin and Jack Nicholson's Joker. In this new film there is no conscious and artful camp, which cracks the literalism, but only unconscious moralism. There is no irony and little humor, except for the delightful Michael Caine who, with his soulful wit, as the millionaire kid's valet and nurse, brings some spirit to depressive Gotham.