Ben Affleck is the Dark Knight.
THE NEWS SPRUNG OUT OF THE SHADOWS LATE ON THURSDAY – AGAIN I WISH THAT WARNER WOULD GIVE SOME WARNING FOR THEIR SURPRISE ANNOUNCEMENTS. BEN AFFLECK IS THE DARK KNIGHT.
More than usual, the genre press led with ‘What do you think?’ headlines – and that’s saying something. There are few actors who’d create more of a stir. Recent weeks have been consumed with rumours that Warner Bros were casting around for an older Batman to match their 33 year old on screen Superman – even pursuing Christian Bale’s return to the tune of $50 million. Recently retired Caped Crusader Bale is just two years younger than Affleck, but it turns out that offer was either flatly rejected, a neat distraction or both. The sudden and definitive announcement surprised many, more than guaranteeing an argument.
Indifferent commentators have been increasingly quiet during a Summer where superhero films have dodged blockbuster box office meltdown. But this news stirred them. They stress that for them it’s not an Affleck issue. It’s more a lament – usually an ill-considered one – that it’s time to seal the comic book film genre away in UV protecting plastic sleeves. In an attic. For once, fans with vision the size of the bat cave entrance may be more clued up, but not necessarily for the right reason. The problem is that Ben Affleck has form.
2003’s Daredevil hangs over Affleck like Kingpin over Hell’s Kitchen. And that’s a little unfair. Far from being the victim of misfortune, it’s been mainly Affleck who’s distanced himself from it – with an emphasis on never playing a superhero again. 2003 was an odd time for the genre, falling in an odd hinterland half a decade before Marvel Studios kicked off their ambitions. At the time Fox’s X Men franchise was successfully burgeoning but remained quite low key. That Summer also saw Ang Lee’s tortured Hulk suffer (mind you, in a difficult season even Harry Potter underperformed).
Daredevil is an established and well regarded Marvel superhero, with one of the most eminent fathers in Stan Lee. But he’s always been one that fits a little awkwardly into the Marvel film roster. Now Fox have rejected Joe Carnahan’s intriguing 70s reboot and the rights have reverted to Marvel Studios it’s hard to see the Man without Fear slipping neatly into the Avengers universe anytime soon. While tragedy and classic monster horror runs through the Hulk’s veins and comedy and coming of age angst drip from Spiderman’s web, Daredevil marries one of the hokiest origin stories with themes of religion, law and city-grit. The horned one is perhaps the darkest fantasy creation to ever wear scarlet in comics and over time creators such as Frank Miller have honed him into a fascinating character – so much more than disability and toxic ooze. Those B-Movie roots that even the Turtles couldn’t totally steal remain, but his position as the real Batman of the Marvel Universe is clear. Pipe down Iron Man.
Director Mark Steven Johnson, a director who often finds it very difficult to please, got a lot right. Daredevil’s power was startlingly realised if a little too stylised. The curse of heightened senses and the Devil’s Catholic guilt were implemented well while the cast was well filled out. The late Michael Clarke Duncan was a superb Kingpin in particular. Fox certainly didn’t fear the worst before it opened, ordering an extra post-credit scene that showed rising star of the moment Colin Farrell’s or rather his character Bullseye had survived for a sequel. Still, despite those apparent strengths in a second string costumed hero film, it didn’t even touch $180million in receipts. It scored under half the amount that the sublime X Men 2 clawed in for the studio just two months later.
A lot of the supposed faults of the mini-Devil franchise were cemented by the unwise Electra spin-off film. Despite the presence of small screen directing legend Rob Bowman, things didn’t go well. Just a cursory look at one of Electra’s comics shows that it would have been hard to conceive the film more poorly. Affleck wasn’t slow to remove himself from the disappointment, but an even more uncomfortable year was to follow. Having already bounced back from Pearl Harbour in 2001, 2003/4 saw him endure the release of Gigli, Paycheck and Jersey Girl following Daredevil. Each proved a nail of various sizes, and it wasn’t long until the former Hollywood golden child found a better stable behind the camera. However, not before, interestingly, he found time to portray doomed Superman actor George Reeves in Hollywoodland.
And so 10 years later, after a chequered decade, Affleck returns to superheroes, this time as that other famous vigilante of the night, the one with the black cowl.
2013 has cemented Affleck’s remarkable repositioning. Taking the directing reins and major roles in a series of serious, gritty and political films has quickly established him up as a talent to watch. His choices and oh so serious bearded persona could be seen as mildly cynical were it not for the critical acclaim and awards… He’s making money as well. Argo raked in $232 million and he’s well on the same path as Clint Eastwood took, but in a far shorter timeframe. His best film win at the Oscars this year may have surprised, but in hindsight it was the one film that allowed the Academy to acknowledge politics at arm’s length. George Clooney had Affleck’s back. Their beards were strong.
So really, it’s the timing of the casting that’s most surprising. Affleck’s name’s been linked to Bruce Wayne’s before, most recently in the flurry of activity surrounding the presumed Justice League movie. Affleck was linked with that directing gig before Snyder was locked in… But there must be some truth to ever rumour, especially in Gotham.
Warner ultimately decided on a cleverer route to realising their big screen ambitions than leaping into their own Avengers. While they can introduce a rebooted Batman in the next Superman film, building and boosting Man of Steel 2’s box office, it’ increasingly likely that they will be growing other characters from the small screen. Series two of DC Superhero series Arrow is set to feature the origin of Scarlet Speedster Flash (which bears some similarity to Daredevil’s hokum) starting a run that may well continue straight onto the big screen. It’s a far cry from previous years where television appearances were overruled in favour of screen development. That change in thinking, while brilliantly opposite to Marvel’s, uncoincidentally collides with the box set generation’s rapidly changing habits. On Wednesday one-time Lex Luthor Kevin Spacey, a praised the golden age of television that is outshining a lot of cinema’s offerings. Warner’s plan increasingly looks multi-format, benefitting from a cohesion that the empire has fecklessly mishandled in recent years.
However, there’s a more telling indication in Affleck’s casting. He’s not the man without fear, the arrogant Hollywood star unaffected by critics…
Affleck is director of the Best film at the 2013 Academy Awards, with a strong recent working relationship with Warner Bros. Further details have surfaced over the last day that Nolan’s serious stab at Gotham-lore was enough to pique Affleck’s interest and he may even have been in the frame for Man of Steel. Certainly it seems reasonable that Affleck’s also eyeing up the contribution he can make to the character behind the camera, either in a solo tale or as part of the larger DC universe.
Casting wise, the past week has seen speculation grow around Lex Luthor with many names connected to the role signalling a similarly serious intent. Among some heavy-hitting fan-baiting names, imagine Bryan Cranston’s Luthor flexing stocks and shares and Kryptonite opposite Affleck’s Bruce Wayne. It looks like, having settled on the serious direction inspired by the Dark Knight trilogy – one which at least limits the possibility of a critical failure – Warner and DC are building a family for the future. It’s a strong one if David Goyer, Nolan, Snyder and Affleck continue to orbit it.
If Affleck had sought the advice of his friend George Clooney, the response may have been as brutal as some of the internet’s reaction. Some have observed that Warner may just as well have put Clooney back in the cowl but that’s another unfair reminder how one misplaced appearance can disrupt a career. Clooney was an excellent Bruce Wayne and hardly responsible for 1997’s Batman and Robin debacle. Put him in the cowl now and it wouldn’t be a terrible choice by any means, but unfortunately it represents far more of a nadir than Daredevil. In many ways, their respective superheroes have made the modern Affleck and Clooney.
Affleck’s chin, sans beard, will return to fantasy once again, but this time to a fantasy one steeped in allegory and metaphor and not a slavish origin. DC has built a universe of consequence and repercussion – not terrible things to have in a blockbuster. While the Dark Knight is a closed and dusty shop, this Batman isn’t likely to be a total reinvention. While undoubtedly dark and vigilante, this Batman will be as crucial to the plot’s capitalist and political scrutiny as inevitable Snyder-size devastation. Affleck will join an ensemble. He won’t take on the mantle of a new and repurposed Batman that some fans are calling for, but he certainly won’t be a Daredevil.