- Published on
As an institution within the greater comic book community, The Batman is a force to be reckoned with.
While his story began with the publication of Detective Comics #27 all the way back on March 30, 1939, there are many who insist that – as a character – the caped crusader truly didn’t come into his own until the 1980’s: Frank Miller’s The Dark Knight Returns presented readers with an older Bruce Wayne who comes out of retirement to once more set things right in both Gotham City and the world-at-large. The miniseries was a sensation that arguably spread well beyond its published pages; and it essentially paved the way for Tim Burton’s gothic-inspired take on the seminal vigilante with 1989’s Batman from Warner Bros. The world’s greatest detective had truly come of age in pop culture, and creators within the publishing industry set about trying to capitalize on the Dark Knight’s success by launching their own titles to compete in an exploding marketplace.
However, what a great many of these storytellers kinda/sorta got wrong in the process is they introduced their heroes and anti-heroes with a greater reliance on action over acumen. Their colorful creations more quickly resorted to fisticuffs and gunplay and increasingly over-the-top physical match-ups in order to draw potential readers into the fold. As several titles successfully incorporated such visceral bravado into their monthly and/or semi-monthly issues, DC Comics was suddenly being pressed to do much of the same with their assorted Batman lines (there were several at the time); and yet longtime editors and contributors to the Bat-family knew all too well that the very best Bat-stories used violence only as a catalyst – a backdrop, if you will – for a good cracking yarn. Batman was never about a beatdown: rather, a beatdown paved the way to a character-driven story, so DC was at odds with the marketplace’s request.
Eventually, Batman editor Dennis O’Neil and his stable of reliable talent came up with an idea that they felt could appropriately address the readership’s growing expectation of violence whilst leaving the necessary room for actual characters and commentary on such a development. The premise – dubbed Knightfall – saw a physically and psychologically exhausted Batman literally broken at the hands of an all-new adversary named Bane. In order to begin the healing process, the injured Bruce Wayne hands the mantle of the Bat over to a successor, a troubled but promising young man named Jean-Paul Valley. Over the course of roughly two years, Knightfall unfolded – its set-up, execution, and eventual resolution – and its vast presentation effectively delivered on the audience’s hunger for action of greater consequence while equally instructing readers to be careful about what they wished for.
Finally, someone in DC has greenlight Knightfall into what looks to be a full and faithful adaptation. Batman: Knightfall – Part One: Knightfall is the first installment in the promised trilogy; and I’ve been provided a copy for review purposes from distributors. As the Knightfall Saga remains a personal favorite of mine over three decades after its publication, I’m thrilled for this opportunity to sound off on its significance.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come, then read on …)
From the film’s IMDB.com page citation:
“When the mysterious behemoth known only as Bane frees Batman's entire rogue's gallery from Arkham Asylum, the Caped Crusader is pushed to his mental and physical breaking point.”
First up, let me be perfectly blunt: there is no need to a point-by-point adaptation of the entire Knightfall Saga. (If you want that, go back and read it.) The story being what it is – hundreds of issues that span a few years – is definitely worth the time and investment to those who’d like to experience it fully; and its (roughly) three volumes – Knightfall, Knightquest, and Knightsend – are affordably priced tomes that deserve to be in any serious Batfan’s library. Yes, it involves just about any player who has every featured prominently in the Dark Knight’s life; and just about everyone has a role – big or small – to play in it. I give the books my highest recommendation.
Understandably, Part 1 – Knightfall has to take some pretty significant liberties with the source material in order to get one central story into a workable form for film. A great deal of background involving the introduction of Jean-Paul Valley (as himself and his alter-ego Azrael) gets truncated into a few scenes – as does the Bane’s origin in his journey from child to adult – and screenwriter Jeremy Adams does a pretty good job in translating key moments from the books into something relatable on the small screen. A great deal more gets quickly summarized in fleeting montages. Mind you: it ain’t perfect because an incredible amount of context is minimized to the point of simplicity … but, as they say, one has to start somewhere, and that’s what Part 1 does very well. It positions Batman, Bruce Wayne, Robin, and the whole cast of characters in their proper place and time the way a first chapter (of three) should. In that regard, what survives – though heavily altered – achieves the desired result.
What is missing and might cause some viewers new to this material to question is Batman’s establishing motivation to both forgive Jean-Paul Valley for his violent transgressions as the avenging angel Azrael as well as the Dark Knight’s commitment to re-training the anti-hero in the hopes to suppress the year’s of psychological programming to dispense a bloody form of justice.
The film opens on a shot of a statue of Lady Justice – blindfolded and holding those mythical scales to weigh right from wrong – so there is an establishing hint briefly about how far Azrael has strayed from the cultural norm; but it’s handled so quickly that I suspect casual viewers won’t even catch its significance. In any event, Knightfall here more strongly suggests that Bruce has surrendered the bulk of these responsibilities to Tim Drake (aka Robin); while that, too, happens in the comics, there’s still no fundamental statement as to the value the dynamic duo initial saw in Valley, and I do think that’s a miss. Given the fact that audiences immediately see a Batman who’d seemingly rather work solo here, the justification to train a potential ally when none are desired is a bit of a plot hole.
Additionally, the introduction of Dr. Shondra Kinsolving – a holistic practitioner Bruce Wayne sought out to help in his mental exhaustion – is a bit ham-handed. The comics took great care to balance the billionaire’s hesitancy and willingness to invest in a bit of personal care; but – in somewhat typical movie fashion – Kinsolving is largely reduced to a ‘caring voice’ and even ‘a shoulder to lean on’ when she arguably performed in a wider capacity on the written page. Merely getting Bruce to the point wherein he needed some counseling feels more like trying to establish a romantic entanglement here; and I think that, too, cheapens the depth of their connection more than was absolutely necessary. Perhaps a scene or two more might’ve alleviated this nitpick – or perhaps even one longer sequence showing some kind of positive progress – but there wasn’t enough to justify Wayne’s faith in her work for me.
Of course, no true drama is ever complete without the introduction of its villain; and in that respect both screenwriter Adams and director Jeff Wamester get high marks. Though I’ve stated above that the outlaw’s beginnings were tweaked in minor ways, what remains is that core foundation of a man on a mission that will inevitably bring him into serious conflict with his mortal adversary, this being Gotham’s chief protector. Knowing what I know (from the books) about Bane’s inevitable developments, I suspect that a good deal more will likely need changing – the comics saw him essentially taking over all criminal activity in the city but there’s little motivation for that here as his goal seems more aligned to eliminating the source of the Rogue’s Gallery (Batman), so why would he now step in to control them if he wants them gone? This might prove the storytellers biggest challenge, but Bane is still brought to life here as about as big as life a comic book character can be.
The biggest disappointment in this adaptation is with actor Anson Mount. He provides the vocals for both Batman and Bruce Wayne; and, sadly, he just brings nothing all that interesting to either performance. Of course, some of this could be owed to the fact that Wayne is understandably tired and/or fatigued a goodly portion of the time; and that might be a condition that isn’t all that interesting vocally. But it wasn’t until Batman came face-to-face with Bane in their big showdown that Mount truly showed up and delivered some work worthy of note. I know, I know, I know: the story is really just beginning. I’m certainly willing to give him some time to find those nuggets worth stepping up his game; but, at present, I can only react to what I’ve been given. Like you, I’m willing to keep my fingers crossed.
Batman: Knightfall – Part 1: Knightfall was produced by DC Studios and Warner Bros. Animation. DVD distribution (for this particular release) has been handled by the fine folks at Warner Bros. Home Entertainment. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional throughout. Lastly, if you’re looking for special features? Well, there are two short ones – a focus on Robin’s role in this saga along with something that’s more of a bloated promotional film – but I honestly expected a bit more, especially given the importance of this story to so many in fandom. Hopefully there will be more to come in forthcoming installments.
Strongly Recommended.
Many folks far more learned than I credit the 80’s tale – The Dark Knight Returns – as bringing Batman into the modern era, but in my humble opinion the Knightfall story was just far more impressive. Granted, it was significantly longer, but it also underscored that being the Batman was far more than simply putting on the suit, having the smarts of criminal detection, and living with endless financial resources. There was a core morality that made one man into the world’s greatest detective; and that will always be more interesting than wild fisticuffs, car chases, and wacky supervillains. The first installment feels a bit rushed in spots – yes, I know there was a lot of ground to cover – but it still manages to retain enough purity from the source material to make for an incredible set-up for what’s to come. Buckle up, kiddies. This one’s just gettin’ started.
In the interest of fairness, I’m pleased to disclose that the fine folks at Warner Bros. provided me with a complimentary Blu-ray of Batman: Knightfall – Part 1: Knighfall (2026) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
While his story began with the publication of Detective Comics #27 all the way back on March 30, 1939, there are many who insist that – as a character – the caped crusader truly didn’t come into his own until the 1980’s: Frank Miller’s The Dark Knight Returns presented readers with an older Bruce Wayne who comes out of retirement to once more set things right in both Gotham City and the world-at-large. The miniseries was a sensation that arguably spread well beyond its published pages; and it essentially paved the way for Tim Burton’s gothic-inspired take on the seminal vigilante with 1989’s Batman from Warner Bros. The world’s greatest detective had truly come of age in pop culture, and creators within the publishing industry set about trying to capitalize on the Dark Knight’s success by launching their own titles to compete in an exploding marketplace.
However, what a great many of these storytellers kinda/sorta got wrong in the process is they introduced their heroes and anti-heroes with a greater reliance on action over acumen. Their colorful creations more quickly resorted to fisticuffs and gunplay and increasingly over-the-top physical match-ups in order to draw potential readers into the fold. As several titles successfully incorporated such visceral bravado into their monthly and/or semi-monthly issues, DC Comics was suddenly being pressed to do much of the same with their assorted Batman lines (there were several at the time); and yet longtime editors and contributors to the Bat-family knew all too well that the very best Bat-stories used violence only as a catalyst – a backdrop, if you will – for a good cracking yarn. Batman was never about a beatdown: rather, a beatdown paved the way to a character-driven story, so DC was at odds with the marketplace’s request.
Eventually, Batman editor Dennis O’Neil and his stable of reliable talent came up with an idea that they felt could appropriately address the readership’s growing expectation of violence whilst leaving the necessary room for actual characters and commentary on such a development. The premise – dubbed Knightfall – saw a physically and psychologically exhausted Batman literally broken at the hands of an all-new adversary named Bane. In order to begin the healing process, the injured Bruce Wayne hands the mantle of the Bat over to a successor, a troubled but promising young man named Jean-Paul Valley. Over the course of roughly two years, Knightfall unfolded – its set-up, execution, and eventual resolution – and its vast presentation effectively delivered on the audience’s hunger for action of greater consequence while equally instructing readers to be careful about what they wished for.
Finally, someone in DC has greenlight Knightfall into what looks to be a full and faithful adaptation. Batman: Knightfall – Part One: Knightfall is the first installment in the promised trilogy; and I’ve been provided a copy for review purposes from distributors. As the Knightfall Saga remains a personal favorite of mine over three decades after its publication, I’m thrilled for this opportunity to sound off on its significance.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come, then read on …)
From the film’s IMDB.com page citation:
“When the mysterious behemoth known only as Bane frees Batman's entire rogue's gallery from Arkham Asylum, the Caped Crusader is pushed to his mental and physical breaking point.”
First up, let me be perfectly blunt: there is no need to a point-by-point adaptation of the entire Knightfall Saga. (If you want that, go back and read it.) The story being what it is – hundreds of issues that span a few years – is definitely worth the time and investment to those who’d like to experience it fully; and its (roughly) three volumes – Knightfall, Knightquest, and Knightsend – are affordably priced tomes that deserve to be in any serious Batfan’s library. Yes, it involves just about any player who has every featured prominently in the Dark Knight’s life; and just about everyone has a role – big or small – to play in it. I give the books my highest recommendation.
Understandably, Part 1 – Knightfall has to take some pretty significant liberties with the source material in order to get one central story into a workable form for film. A great deal of background involving the introduction of Jean-Paul Valley (as himself and his alter-ego Azrael) gets truncated into a few scenes – as does the Bane’s origin in his journey from child to adult – and screenwriter Jeremy Adams does a pretty good job in translating key moments from the books into something relatable on the small screen. A great deal more gets quickly summarized in fleeting montages. Mind you: it ain’t perfect because an incredible amount of context is minimized to the point of simplicity … but, as they say, one has to start somewhere, and that’s what Part 1 does very well. It positions Batman, Bruce Wayne, Robin, and the whole cast of characters in their proper place and time the way a first chapter (of three) should. In that regard, what survives – though heavily altered – achieves the desired result.
What is missing and might cause some viewers new to this material to question is Batman’s establishing motivation to both forgive Jean-Paul Valley for his violent transgressions as the avenging angel Azrael as well as the Dark Knight’s commitment to re-training the anti-hero in the hopes to suppress the year’s of psychological programming to dispense a bloody form of justice.
The film opens on a shot of a statue of Lady Justice – blindfolded and holding those mythical scales to weigh right from wrong – so there is an establishing hint briefly about how far Azrael has strayed from the cultural norm; but it’s handled so quickly that I suspect casual viewers won’t even catch its significance. In any event, Knightfall here more strongly suggests that Bruce has surrendered the bulk of these responsibilities to Tim Drake (aka Robin); while that, too, happens in the comics, there’s still no fundamental statement as to the value the dynamic duo initial saw in Valley, and I do think that’s a miss. Given the fact that audiences immediately see a Batman who’d seemingly rather work solo here, the justification to train a potential ally when none are desired is a bit of a plot hole.
Additionally, the introduction of Dr. Shondra Kinsolving – a holistic practitioner Bruce Wayne sought out to help in his mental exhaustion – is a bit ham-handed. The comics took great care to balance the billionaire’s hesitancy and willingness to invest in a bit of personal care; but – in somewhat typical movie fashion – Kinsolving is largely reduced to a ‘caring voice’ and even ‘a shoulder to lean on’ when she arguably performed in a wider capacity on the written page. Merely getting Bruce to the point wherein he needed some counseling feels more like trying to establish a romantic entanglement here; and I think that, too, cheapens the depth of their connection more than was absolutely necessary. Perhaps a scene or two more might’ve alleviated this nitpick – or perhaps even one longer sequence showing some kind of positive progress – but there wasn’t enough to justify Wayne’s faith in her work for me.
Of course, no true drama is ever complete without the introduction of its villain; and in that respect both screenwriter Adams and director Jeff Wamester get high marks. Though I’ve stated above that the outlaw’s beginnings were tweaked in minor ways, what remains is that core foundation of a man on a mission that will inevitably bring him into serious conflict with his mortal adversary, this being Gotham’s chief protector. Knowing what I know (from the books) about Bane’s inevitable developments, I suspect that a good deal more will likely need changing – the comics saw him essentially taking over all criminal activity in the city but there’s little motivation for that here as his goal seems more aligned to eliminating the source of the Rogue’s Gallery (Batman), so why would he now step in to control them if he wants them gone? This might prove the storytellers biggest challenge, but Bane is still brought to life here as about as big as life a comic book character can be.
The biggest disappointment in this adaptation is with actor Anson Mount. He provides the vocals for both Batman and Bruce Wayne; and, sadly, he just brings nothing all that interesting to either performance. Of course, some of this could be owed to the fact that Wayne is understandably tired and/or fatigued a goodly portion of the time; and that might be a condition that isn’t all that interesting vocally. But it wasn’t until Batman came face-to-face with Bane in their big showdown that Mount truly showed up and delivered some work worthy of note. I know, I know, I know: the story is really just beginning. I’m certainly willing to give him some time to find those nuggets worth stepping up his game; but, at present, I can only react to what I’ve been given. Like you, I’m willing to keep my fingers crossed.
Batman: Knightfall – Part 1: Knightfall was produced by DC Studios and Warner Bros. Animation. DVD distribution (for this particular release) has been handled by the fine folks at Warner Bros. Home Entertainment. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional throughout. Lastly, if you’re looking for special features? Well, there are two short ones – a focus on Robin’s role in this saga along with something that’s more of a bloated promotional film – but I honestly expected a bit more, especially given the importance of this story to so many in fandom. Hopefully there will be more to come in forthcoming installments.
Strongly Recommended.
Many folks far more learned than I credit the 80’s tale – The Dark Knight Returns – as bringing Batman into the modern era, but in my humble opinion the Knightfall story was just far more impressive. Granted, it was significantly longer, but it also underscored that being the Batman was far more than simply putting on the suit, having the smarts of criminal detection, and living with endless financial resources. There was a core morality that made one man into the world’s greatest detective; and that will always be more interesting than wild fisticuffs, car chases, and wacky supervillains. The first installment feels a bit rushed in spots – yes, I know there was a lot of ground to cover – but it still manages to retain enough purity from the source material to make for an incredible set-up for what’s to come. Buckle up, kiddies. This one’s just gettin’ started.
In the interest of fairness, I’m pleased to disclose that the fine folks at Warner Bros. provided me with a complimentary Blu-ray of Batman: Knightfall – Part 1: Knighfall (2026) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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