Batman: The Dark Knight

Stylistically, the color has been greatly desaturated, the shadows have been emphasized, and high tones diminished. The entire film has been darkened just a little bit, and the aspect ratio has been cropped to appear wider. The beginning of the film is reassembled to open up at Wayne Enterprises, where Bruce Wayne meets Edward Nigma. In the midst of the conversation, Bruce notices the Bat signal outside, dismisses himself, and visits Two-Face at the bank heist. After the Statue of Liberty sequence, the film continues with the Murder of Stickly, and the film progresses as normal, with over 40 minutes of cuts along the way. There is no longer a love triangle between Bruce Wayne, Chase Meridian, and Batman. Edward Nigma’s character, though not as calm and calculating as he is portrayed in every other manifestation throughout the franchise (except the Adam West version of course), has been trimmed to kill the more “Jim Carey” moments. The city of Gotham has been toned down greatly, with the black light sequences cut, and generally just being greatly pushed out of sight whenever possible.

The musical score has been completely revamped. Though not the intention to completely abrogate Goldenthal’s score, Mostly cut out is the revamped Batman Forever Bat Theme, replacing it with Elfman’s theme. Goldenthal’s score has been left alone in the development sections, as it mostly isn’t bothersome or cheesy. Action sequences have been sourced mostly from Danny Elfman’s themes from the original Batman, and Shirley Walker’s score from Batman: Mask of the Phantasm. A Khachaturian Ballet Suite is utilized as a theme throughout the film. A Prince song also enjoys a short cameo, a nod to the original film.