From Gotham to Gautham: Batman: Mask of the Phantasm (1993)
While Batman may not have graced the silver screen between the 1966 and 1989 films, his presence was certainly available on television. In 1968, Filmation put out The Batman/Superman Hour, which featured The Adventures of Batman, an animated series that captured the tone of the TV series, yet still felt like the comic books. Olan Soule provided the voice of Batman, and Casey Kasem provided the voice for Robin. The show lasted one season. Batman and Robin made their next animated appearance in the classic 2-part story on The New Scooby-Doo Movies in 1972. The following year, Hanna-Barbera debuted Super Friends, an animated version of the Justice League, which brought some of DC Comic’s most famous superheroes (and a few created just the show) to the small screen. It was the place to get your Batman and Superman fix for a generation, and lasted in some incarnation for more than a decade. Soule and Kasem provided the voices for the Dynamic Duo for these shows. Funnily enough, Filmation put out The New Adventures of Batman in 1977, starring the voices of Adam West and Burt Ward. Like its predecessor, this show lasted one season. Except for reruns of the 1966-1968 TV series and the Filmation cartoons, Super Friends, and it’s 1984-1986 Super Powers spin-off (which was really a tie-in for the superlative Kenner action figure line), Batman was getting no love. (I will ignore the 1979 TV specials Legends of the Superheroes, in which Adam West and Burt Ward reprise their roles, which were shot on videotape with a laugh track. I haven’t seen them…yet).
When Batman was released in 1989, and became a huge hit, not only was Warner Bros. eager for a sequel, but they thought that the time was right for new animated adventures. Enter Bruce Timm and Eric Radomski. Together, they began work on what would become a series that changed animated action television. Going for a stylized look that was at the same time simple and complicated, and taking the tone from the Tim Burton films, the complicated characters from the comic books, and the excellence in animation from the Fleischer Superman cartoons, Timm and Radomski got to put the closest thing to the Batman comic books the screen has ever seen.
Debuting in September 1992, three months after Batman Returns premiered, Batman: The Animated Series became one of the Fox Network’s big afternoon hits. The show was so popular that the decision was made to produce a direct-to-video movie. Written by Alan Burnett and Michael Reaves, Batman: Mask of the Phantasm went into production. Warner Bros. executives were so impressed with what they saw, they decided to release the movie in theaters. So in December 1993, Batman: Mask of the Phantasm came out.
By December 1993, I was well into my junior year of high school. While I looked very much forward to the third Batman movie, and was a fan of the animated TV series, I didn’t get to see the movie. I wanted to, it just didn’t happen. As a matter of fact, I didn’t get to see the movie until I needed to write this. So with 21 years between its theatrical release and my first viewing, let’s get to it.
There’s a reason why Kevin Conroy has been cast as Batman so often in animation and videogames. Like Bud Collyer did for Superman on the radio and in cartoons, Conroy managed to change his voice in a believable way to distinguish Bruce Wayne and Batman. His performance his excellent.
Mark Hamill as the Joker is as legendary as Conroy as Batman. When geeks fight over who has done the best performance of the Joker, Hamill’s name is often cited. Hamill, a long-time comic book fan, truly got into the Joker’s derangement and deadliness. While his lines are sometimes far from great, he performs the role with such relish that one cannot help but be moved.
The courage it took to make the main “villain” a completely new character with the surprise ending that the Phantasm (who was a cross between Darth Vader, the Grim Reaper, and a comic book character called The Reaper, featured in Batman: Year Two) is actually Bruce Wayne’s love interest, Andrea Beaumont (Dana Delaney). It also rewrites Bruce Wayne’s history a little, having him actually propose to Beaumont. Her sudden departure helps him fully decide to become Batman.
The animation is pretty good, as is the background art. The creators went for an Art Deco feel to Gotham City that captured the feel of Tim Burton’s Gotham City while being distinctly its own.
The music is great. It’s based on Danny Elfman’s score from the films and is appropriate for the series, as well as the movie.
In the hour-and-15-minutes the movie lasts, I found myself bored at times. The movie goes back-and-forth in time, from the present to the time just before Bruce Wayne decides to be Batman. We see him try to take on criminals wearing a regular mask and getting his ass kicked (something that has become common since Frank Miller’s Batman: Year One). We see him meet Andrea Beaumont, fall in love with her, propose, realize her father is in with the mob, and lose her throughout the movie’s many flashbacks, all done with the cheesy wavy transitions that I thought had stopped being used sometime in 1983. Maybe it’s because I was chasing after a 20-month-old (who was super-excited to see Baa-Bah! on TV), but if I was bored with it, I imagine the original target audience of children may be, too. Maybe not, just my guess.
I love animation but there seems to be something with a lot of these modern superhero animated shows/movies in the sound quality. The voices of the actors are clear and concise, but they’re too clear and concise. It doesn’t sound like the characters are in a world consisting of life. And when background sound effects are added, they also tend to fall flat. Maybe it’s just me.
The Phantasm is a little lame. For a movie called Mask of the Phantasm, I expected more Phantasm. I understand that there was supposed to be the mystery of who the Phantasm was, but when he shows up, he’s really bad at what he sets out to do, and he really is no match for Batman, the Joker, or just about any mobster he comes into contact with.
Overall, Batman: Mask of the Phantasm is an enjoyable enough movie, which I’m sure fits right in with the TV series (I haven’t watched the show for a long time), but I seem to remember that the series was more interesting overall.
Still, the movie did well enough that Warner Bros. made two more animated movies, though both were strictly direct-to-video, so we’ll skip over them. It certainly was a good enough placeholder, as was the overall television series, until the next Batman movie came out.
From Gotham to Gautham: Batman Returns (1992)
With Batman‘s huge success, Warner Bros. obviously wanted another movie, and obviously wanted Tim Burton to direct it. However, Burton wasn’t sure he wanted to direct it, and had a story of his own he was passionate about. That movie, Edward Scissorhands, became the film that is probably most quintessentially Tim Burton. Release by 20th Century Fox in 1990, it was a modern fairy tale that utilized many of Burton’s already-known quirky styling and enhanced them. It was a hit.
Eventually, Burton went back to Warner Bros. and agreed to do the next Batman. The biggest thing he wanted, though, was the kind of control he’d had over Edward Scissorhands. As such, producers Jon Peter and Peter Gubers became executive producers while Burton and longtime collaborator Denise DiNovi became producers. A script by Batman writer Sam Hamm was rewritten by Daniel Waters (as well as a ghost-rewrite by Wesley Strick) and eventually passed muster. With Burton on board, Michael Keaton agreed to resume the roles of Bruce Wayne and Batman.
When Batman came out in 1989, I was fresh out of elementary school having just finished 6th grade (in these parts, 5th grade now constitutes the end of elementary school). Junior high school (7th-8th grade, as opposed to today’s middle school, 6th-8th) was pretty bad. Some of the worst years of my life. My freshman year of high school was only marginally better. I transferred schools after 2 months, not happy with the original high school I’d attended and opting for the area’s vocational-technical high school to do art. The two things I looked forward to for the 1991-1992 school year were Freddy’s Dead: The Final Nightmare and Batman Returns. At least one of them delivered.
The cast is quite good. Keaton’s second go-around as Batman and Bruce Wayne is more interesting than the first. Maybe it’s the redesigned suit, which features a thinner mask/cowl than its predecessor and torso armor that looks more like armor than the 1989’s sculpted muscles. Maybe Keaton just grew more comfortable moving around as the character. Either way, his Bruce Wayne is more interesting, willing to smile and actually try to be a part of his world, while his Batman kicks a little more ass, and is even more like the Batman from the comic books from that time period.
Michelle Pfeiffer as Selina Kyle/Catwoman starts off a little rocky, my guess is mostly due to the script, but quickly becomes a scene stealer. Pfeiffer is confident, sexy, and smart and it comes through. As the movie progresses, her character is more and more interesting and her performance gets better and better, no easy feat considering movies shoot scenes out of order. She is a great foil to Michael Keaton’s Bruce Wayne/Batman. The scene at Max Shreck’s masquerade ball is easily their best together without the masks. In masks, all their scenes together are great.
Danny DeVito’s Penguin is ridiculously over-the-top and hilariously evil. It shouldn’t work. Upon rewatching the movie for this essay, I didn’t think it would work now that I’m an adult. But I couldn’t help but laugh at the double- and triple-entendres I missed as a 14-year-old high school kid. The movie is wildly inappropriate yet most kids wouldn’t know it because the humor is above them. I found myself quite mesmerized by the character this go-round.
Christopher Walken’s Max Shreck is the true villain of the piece. A corporate do-nasty, he has plans for Gotham City and uses the Penguin as a means for more control. When Batman foils the plan to get Penguin elected mayor of Gotham, Shreck disassociates himself with the deformed man, leaving the Penguin to fend for himself, which sets up the last act of the movie. Walken plays Shreck in a way that is subtle but scary. While DeVito is chewing the scenery and give a broad performance, Walken pulls it in and allows his eyes and increasingly wild white hair to do the work.
There’s better pacing this time around. Maybe because there are so many characters that the audience has to keep track of, maybe the filmmakers took a cue from some of the negative comments about Batman, but there’s more action in this movie, and more interesting things happening. It’s actually quite insane. The costumes and shenanigans of the Penguin’s Red Circus Gang are ridiculous, but create a world that one almost wishes existed. If these were the villains we had to deal with, life may be crazier, but maybe we’d be safer in the long run.
The movie is actually quite funny in places, and appropriately so. Unlike the campy satire of the 1966-1968 Batman, Batman Returns has the aforementioned risqué humor from the Penguin, as well as cute scenes, like the one involving Bruce, Alfred, and Selina. Bruce and Selina are on a date (that in itself is funny, since a heavy make-out session–that was about to go farther–had to be stopped since they both suffered from wounds they gave each other the night before in their alternate personas) when trouble happens. Bruce, scatterbrained as usual, tries to get Alfred to tell Selina a lie so he can run off and be Batman. The moment Bruce leaves, Selina comes in and does essentially the same thing.
Another great moment comes later on and also concerns Alfred. The Batmobile has been compromised and needs repairs. As Bruce Wayne is accessing a secret way into the Batcave, via an iron maiden, Alfred reminds him that they can’t just send the Batmobile to any old repair shop.
“Hey,” Bruce says. “Who let Vicki Vale into the Batcave? I’m sitting there working and it’s like, ‘Oh. Hi, Vicki. How are you?'”
It’s a great moment acknowledging the outcry the fans made over Vickie Vale entering the Batcave and the interaction between Michael Keaton and Michael Gough helps show Bruce and Alfred’s relationship.
Which is why I’m going to give Michael Gough more accolades here. While Gough gave Batman some much-needed humanity, here he reinforces the humanity of others. Whether it’s the playful interplay between him and Keaton, or him and Pfeiffer, or it’s him alone discovering something or working some sort of Bat-equipment, Gough is phenomenal. He manages to make Alfred seem both put-upon and fatherly simultaneously.
Again, Tim Burton and his production designers, costumers, make-up artists, and prop people create a world unto itself. Gotham City in Batman Returns feels as though it belongs in the world set up in the first movie but takes it in different directions. The former amusement park where the Penguin has lived (and retreats to), Shreck’s Department Store and its offices, the rooftops of Gotham, and Gotham Square are all familiar and alien at the same time. Again, it’s hard to pin down the era in which the movie takes place, though it does feel more of its time (1992) than its predecessor, much of the costuming has a 1940s/1950s feel, except for Bruce Wayne, Batman, and eventually Selina Kyle/Catwoman.
Danny Elfman’s score was great in the first movie and is even better here. Maybe in the three years between movies he grew more as a composer? Maybe he’s more comfortable with the subject? Either way, his score in this movie builds from Batman’s theme and goes way, way beyond. And without Prince’s crappy music to force into the movie, the music really soars. (And before you leave angry comments about me calling Prince’s music crappy, let me say that I don’t think all of his music is crappy. I actually like a lot of it. But his music for Batman was just bad, man.)
No Harvey Dent. Apparently, he was in some of the earlier drafts of the movie but was eventually deleted because they had too many characters. Even Commissioner Gordon’s role was diminished in this movie. While Pat Hingle isn’t my favorite James Gordon, Gordon is such a huge part of the Batman mythos that hardly seeing him onscreen is a little disconcerting. I think Dent’s character growing through the movie, even if it was only a few short scenes, would’ve been pretty cool. Yeah, that’s more of me as a fan-geek than as a serious critic, but that’s how I see it. Besides, I’m hardly a serious critic.
The film is a little too…theatrical? Is that the right word? One of the things that Tim Burton is known for is his distinct style. There were glimpses of it in his first three movies (Pee Wee’s Big Adventure, Beetlejuice, and Batman) but it really took shape in Edward Scissorhands. His movies are very stylized and have a specific look to them, from the use of the camera, the use of miniature sets, to the way characters enter and exit a scene. It’s all very theatrical, which isn’t a terrible thing, and is arguably one of the things that makes his movies (well, most of them) fun to watch. Here it’s a little silly sometimes. Two examples I remember from when I was 14 and noticed (and made me smile) now have to do with Michael Keaton.
In these early Batman movies (and many other action movies of the 1980s into the early-1990s), there is a scene when the hero suits up. Whether it’s John Rambo in Rambo: First Blood Part II, or Schwarzenegger in one of his movies, or Batman, there is a scene when the hero goes from being…well…the hero to the, um, hero. In this move, Bruce Wayne goes to the Batcave for the final act’s suit up. He goes into the new vault where all the Batman costumes are located (he must’ve renovated the cave since the first movie). There’s a drawbridge that leads right up to the first costume, which takes up the doorway. It’s quite apparent that you can’t go into the room with the costume where it is, yet Michael Keaton walks right up the small drawbridge and into the room–and obviously nose-to-nose against the first costume. I know what they were going for, and it would’ve been a great shot. Except that you can see at the last minute Keaton has to stop and stand awkwardly, trying not to dump that first costume.
The second moment comes closer to the end. Batman is in his new vehicle, called the Batskiboat, and rushing toward the Penguin’s lair in the abandoned amusement park. He has used a frequency changer (with the help of Alfred) to save Gotham from the Penguin’s penguins and has redirected them to the amusement park. The Penguin, quite angry, rides his motorized duck car to the surface and the Batskiboat follows, crashing from a tunnel and on top of the duck, crushing it. The lid of the Batskiboat slides open and Batman is obviously bent over, squished inside so he can stand up and get out of the vehicle. In other words, the life-size one they built for this scene was too small to fit Michael Keaton. I know I’m nitpicking, but I remember that it bothered me at 14. And that’s the thing with those small, stylistic things, as an adult I find them almost charming, but as a kid, they took me out of the story.
Gotham City feels smaller in this movie. Batman was shot in England, at the legendary Pinewood Studios, where a huge chunk of Gotham City was built. Pinewood Studios is also where portions of Superman and Superman II were shot on the famous 007 Stage. On the backlot, portions of New York City streets were recreated for the infamous fight between Superman and General Zod and his crew. In Batman, Gotham feels like a city. In Batman Returns, which was filmed at Warner Bros. Studios in Los Angeles, even though the sets were huge, it looks (and feels) like less of Gotham was built. And it’s pretty obvious that certain sets were re-used, albeit decorated differently (the exterior of Shreck’s Dept Store and the exterior of Gotham City Hall of Records). Even with the matte paintings of Gotham’s skylines, and chases on the rooftops, Gotham feels small.
Batman the murderer is on the loose. Seriously, Burton’s Batman is a killer in the same way that every action movie star of the 1980s-1990s are, and it’s disappointing. In an interview for one of the behind-the-scene documentaries on Warner Bros.’s superb Batman Anthology DVD/Blu-ray set, I believe it was Daniel Waters who said that while fans complained that Batman killed in these movies, they felt they needed to make him more modern, and in modern movies, the action heroes often kill indiscriminately. To which I say: Bullshit. Why the need to make Batman like every other action star of that time period? Batman purposely uses the Batmobile to set someone on fire, and purposely attaches a bomb to another criminal, blowing him to hell. (How many people will come to my website by searching Batman blowing? We’ll find out! Whee!). And for all intents and purposes, he kills the Penguin as well. Yet, he stands down in the Penguin’s lair, trying to convince Selina Kyle not to kill Max Shreck. He argues that they’re not like Shreck, which I read as, “We’re not killers like he is.” Except…he’s killed all those goons that worked with the Joker, the Joker, several of Penguin’s goons, and, at this point, possibly the Penguin…twice. The way I see it, if Selina Kyle/Catwoman kills Shreck, she’s doing something Batman most likely would’ve done anyway. The argument is, of course, he had no choice but to kill these people. Maybe, maybe not. But the thing that makes the comic book Batman so interesting is that he is unwilling to kill, and when he does, it messes him up.
The black gunk that comes from the Penguin’s mouth. It’s just weird. Blech.
Like Burton’s initial foray into Gotham City, Batman Returns is a tour-de-force of imaginative filmmaking. Nitpicking aside, not only do I enjoy the movie, but I like it even more than its predecessor. It’s faster paced, has more humor, and is just more fun. I saw it twice in the theaters when it came out (and still have the ticket stubs) and multiple times in the year or two that followed, once I got the videotape for Christmas.
Batman Returns was a financial hit, though the reviews were mixed. While Burton’s vision and unique storytelling prowess were often cited as plusses, they were also parts of the criticism that the movie, which was rated PG-13 (like its predecessor), was too dark and too scary. Still, it seemed inevitable that Warner Bros. would want a third adventure. And I knew, that summer in which I turned 15, that I couldn’t wait for a third movie!
A possible piece of trivia: I’ve kept movie stubs for every movie I’ve seen since June 1992. The first stub is for Batman Returns. So is the second stub, seen a month later.
From Gotham to Gautham: Batman (1989)
1989 was a big year for Batman. It was his 50th birthday and it was the year he would appear in a major motion picture for the first time in 23 years.
Beginning in the early 1970s, Batman (and comic book) fan Michael Uslan tried getting Hollywood interested in bringing Batman back to the big screen. After pitching his idea to producer Benjamin Melniker, the two went from one studio to the next, eventually winning over the producing team of Jon Peters and Peter Guber. Still, there was little interest. Until the end of 1978.
With the success of Superman: The Movie, Warner Bros. wanted to do what DC Comics itself had done 40 years prior and follow the film up with a new superhero movie. They brought the property back to Warner Bros. (who owns DC Comics) and began the task of bringing Batman to the big screen again. However, nothing seemed to work. Treatment after treatment was pitched to Warner Bros., which would agree, and then change their minds. Tom Mankiewicz, who’d ghostwritten revisions to Mario Puzo’s script for Superman and Superman II when Richard Donner was on both projects (and given the onscreen credit of Creative Consultant), even wrote a treatment. Getting the right director was difficult and pinning down the tone of the movie, and character, was also difficult.
After his success with the Warner Bros. release of Pee-Wee’s Big Adventure (1985), Tim Burton was asked to direct. Not a comic book fan himself, he was intrigued by the imagery of Batman and the Joker. More treatments were written and things weren’t official until Burton’s next movie, Beetlejuice (1988), was successful. Warner Bros. officially greenlit Batman and the stage was set for one of the biggest film franchises of all time.
I knew none of the above. I was a kid, fer chrissakes! What I did know was that in December of 1988, Entertainment Tonight promised a first look at the new Batman movie and I was intrigued. They showed a part of the trailer and I was blown away. I distinctly remember Batman turning around to face the camera, bloodied, his mask dark rubber, ears tall like they were in the comic books. I’d already heard that Michael Keaton–whom I knew from Mr. Mom, Gung Ho, Johnny Dangerously (I love this movie!), Beetlejuice, and a movie I loved called The Dream Team (I haven’t seen it since about 1990, so forgive me if it’s bad)–would play Batman, and I wondered how that would be. I didn’t understand, at that time, the controversy of the decision other than he was known as a comedic actor and Batman was an action/adventure role. I didn’t really know that Batman was supposed to be dark because, even though I had a bunch of Batman comic books from the early-1980s, I hadn’t really read them. I was too young when they came into the house. I still had them and would go back and reread them, but at this point, that was still months away. Seeing that first glimpse of Keaton as Batman got me excited, but I was still a little confused. To me, Adam West was still Batman. I was 11 years old, give me a break.
Sometime around March the marketing machine really started and Batman tee shirts, posters, lunchboxes…the list goes on…started popping up. I remember walking through JC Penney at the local mall and seeing a bunch of Batman tee shirts, for someone my size! At this time, superhero clothing was still for little kids. I was in sixth grade (my last year of elementary school, back then). Also, I was a “husky” 11-year-old.
Batman was everywhere. One of the first adult novels I ever read on my own was the paperback novelization of the movie, written by Craig Shaw Gardner.
1989 was a big year for movies, and that summer was particularly good. It featured not only Batman, but also Indiana Jones and the Last Crusade, Ghostbusters II, Lethal Weapon 2, and A Nightmare on Elm Street 5: The Dream Child. I got to see Batman, Indiana Jones, and Freddy Krueger in the movies that summer. The other two I saw on VHS when they came out. Either way, it was a good summer.
We went to see Batman a week or two after its release and there was still lines going around the building. We saw Honey, I Shrunk the Kids instead. Finally, my father took me one Saturday afternoon to see it. By now, I’d read the novelization and had read a behind-the-scenes magazine. The movie still left a big mark on me.
Michael Keaton as Bruce Wayne/Batman. Last year, when it was announced that Ben Affleck would play Batman and geeks cried out in a rage, I laughed at them. Maybe they were too young to remember, but I do remember the Michael Keaton fiasco. His Bruce Wayne stands apart from any that had come before or since. He is seemingly a normal guy, looks completely normal. He certainly does not look like someone who dresses like a bat and fights crime at night. Yet, it totally works because of this. As Wayne, he is scattered and scarred, trying to find some sort of normalcy but having trouble. When we meet him at a charity benefit being held at Wayne Manor to help save Gotham’s bicentennial festival, Vicki Vale (played by Kim Basinger) taps him on the shoulder and asks if he knows who Bruce Wayne is. He says no, she thanks him and walks away, and he stands there with a pen he’d been using to sign something with. He realizes he has the pen and doesn’t know what to do with it. He stabs the soil of a huge potted plant with the pen, leaving it there, to be instantaneously retrieved by Alfred (Michael Gough), who also saves a champagne flute. It’s the perfect introduction to a man who continues being the child he was when his parents were murdered in front of him. It’s only after a strange conversation with Vicki Vale and reporter Alexander Knox (Robert Wuhl) that we see him in his true self, looking at a bank of monitors in the Batcave.
His acting as Batman is somewhat stilted and emotionless, but this makes sense for someone trying to conceal his identity. The costume itself provided lots of limitations. In trying to achieve accuracy between the comic books and the movie, the costume designers chose to make the mask and cowl go right down to the cape. Unfortunately, the latex foam rubber used to make the mask meant that Keaton couldn’t turn his head without ripping the cowl from the neck. Also, with the thickness of the mask near his eyes and around his head, he had trouble seeing and hearing. Taking all this into consideration, Keaton did a helluva job. Even without it, his tone was correct for the movie overall.
Jack Nicholson obviously needs to be mentioned, though I almost ask myself Why bother? Everyone knows he did an excellent job as the Joker. Yes, he may have hammed it up some, but the character hams it up. He had the energy that Cesar Romero brought to the role (mustache and all) in 1966-1968, but was sinister and deadly. And as much as I’m a Robin Williams fan and truly think he would’ve been great in the role, Jack Nicholson as the Joker seemed like destiny. Not only that, but he brought a certain amount of respect to the movie.
The production design is pretty amazing. The idea of making a wholly original city that looks like a nightmare come to life is inspired. Taking the idea that Gotham City is a tortured, sickly, corrupt city and then making it look that way in an outward manifestation was bold. Anton Furst’s designs are nightmarish and effective. Compared to the studio backlots used in the serials as well as the 1966 TV series, or the Los Angeles skyline and surrounding country roads, and unlike Superman: The Movie (and Superman II), which used New York City as its Metropolis, this film had Gotham City as its own thing, unlike any other city. It was a place you’d barely want to walk in the afternoon, never mind after dark.
The Batmobile. How do you top the 1960’s iconic Batmobile? Well, here you go. It’s sleek, sinister, and not at all kitschy. It’s a more realistic Batmobile, to be sure. Where the 1966 Batmobile (as well as most of the comic book versions before and after) were gaudy and seemed to almost be an advertisement to the city of Gotham that Batman had arrived, this Batmobile is scary.
Michael Gough as Alfred Pennyworth, Bruce Wayne’s butler (and surrogate father) is amazing. Understated, elegant, and fatherly, he is the heart of the movie. In the scene where Bruce Wayne and Vicki Vale have their first date in Wayne Manor and end up eating with him, he turns a clichéd scene into something real. Throughout the movie, he is truly the one Bruce Wayne listens to. You get the idea that while he goes along with Wayne’s idea to dress up like a bat to kick some criminal ass, he doesn’t completely agree with it. As such, one of the movie’s most controversial scenes makes sense. More on this later.
The introduction to District Attorney Harvey Dent is a great thing, and the fact that they cast a black man, Billy Dee Williams, to the part is even better. It meant that there was the idea that a sequel could be made and that one could see Dent’s transformation into Two-Face. Because of knowing for this movie, it would make the tragedy of his story that much stronger. Williams turns in a solid performance, too, though he’s not given the screen time he should be.
Danny Elfman’s score is top-notch. The opening titles music alone (a slow reveal of the bat symbol) is as good as John Williams’s Superman theme (or his Star Wars or Indiana Jones themes, for that matter). Where Williams’s Superman theme was bold and hopeful, heroic, Elfman’s Batman theme is heroic, sure, but also dark and mysterious. The rest of his music is every bit as quirky as director Tim Burton is, and bold as the hero Batman is.
Tim Burton’s direction is brilliant at times. His quirky storytelling ability that led him to direct Pee-Wee’s Big Adventure and Beetlejuice (which was originally going to be directed by Wes Craven, with a darker, meaner script) and made them instant classics doesn’t seem right for Batman, yet he does a great job with the piece. The movie could move a little faster, and the dialogue could be better, but overall Burton’s vision of the characters–and of the nightmare that was Gotham City–made the movie unique and made it a movie unlike many other superhero movies, before or since. It’s set in a time unto itself. It could be the 1940s, except the TVs are all in color, and Vicki Vale’s wardrobe and car are definitely 1980s (so is Bruce Wayne’s wardrobe). I wonder if this is his way of saying that Vicki Vale is more progressive and ahead of the curve than those around her, or if it means that Gotham is behind the times. After all, she’s a visitor. Batman’s gear could be from the future. Burton’s vision is complete and the world he provides for us is complete.
Kim Basinger as Vicki Vale is all right most of the time, and terrible at others. Of course, how she got the part has become part of the legend of this movie, but I’ll repeat it for those who may not know (which is a Good Thing, it means you have a life!). Originally, Sean Young had been hired to play the part of Vicki Vale, photojournalist. Part of Bruce and Vicki’s date was supposed to have them horseback riding on the Wayne Manor grounds. About a week before shooting, Young was getting acquainted with the horse she was supposed to ride and she fell off, breaking her arm. The producers decided to recast the part since it was so physical. The list of actresses available in such short notice, with the talent they were looking for, was short. Basinger was on the list and she could drop everything and move to England for three-to-four months, so she was hired. Again, she’s not terrible, but maybe a little more time, a better script, something would’ve helped. In scenes with Robert Wuhl’s Alexander Knox, she goes from friendly to sharp instantly. Her delivery of some of the lines is almost as though she’s practicing them. I also think the script and/or directing has her screaming too damn much. She just came back from a war, according to the story, and now she’s screaming the classic scream queen scream in every other scene? Once or twice? Yes. But….
I’m not a fan of Alexander Knox. Robert Wuhl is a gifted comedian. His HBO specials Assume the Position with Mr. Wuhl and its follow-up are brilliant, but I can’t stand Alexander Knox. I couldn’t when I was 11/12, I can’t now. He’s supposed to provide comic relief, which I’m fine with, and he’s supposed to be the audience’s point-of-view, but I find him taking away too much screen time that I would’ve loved to have seen go to Bruce Wayne, Batman, or even Vicki Vale.
The writing and pacing are a little off. Part of this, no doubt, has to do with the 1988 Writers Guild strike, which affected many movies and TV shows that year (it’s mentioned in my essay on A Nightmare on Elm Street 4: The Dream Master). The dialogue in places is spot-on and perfect (the Joker’s dialogue, Alfred’s dialogue), other times it’s pretty bad (most of Vicki Vale’s lines, many of Bruce Wayne’s). As far as pacing, there are some cool action pieces throughout the movie, but there are times when it’s dull and boring. I also have to wonder if getting Jack Nicholson actually hurt the movie. He was billed before Michael Keaton, who played the title role! His fee and demands are stuff of legend, as is his earning on the back end (which is quite common now), but I wonder if having spent so much on Nicholson made the movie more about the Joker. Of course, one plot point that gets fans angered is Alfred letting Vicki Vale into the Batcave, something that co-screenwriter (and writer of the original story) Sam Hamm says he had nothing to do with, pinning it all on co-screenwriter, the late Warren Skaaren. While many have been very upset with this it does fall within the realm of possibility for this movie’s Alfred. There are certainly enough hints from Alfred that he wishes Bruce would lead a more normal life, and that Vicki might be a way to that life. So I’m not mentioning that as a bad part of this movie. Because the real thing, I think, is–
Batman kills everyone. In the comic books, the one thing that separates Batman’s style of vigilantism from that of, say, Charles Bronson’s Death Wish character is that Batman will not kill. Batman will break every law in the book if it means getting the culprit, except for killing. In the stories when he’s had to kill, it often leads to follow-up stories where he’s dealing with the killing. In 1989’s Batman, though, Batman is like Rambo. Off the top of my head, Batman kills: Jack Napier (accidentally, though Jack actually survives both the fall into and the submergence in a vat of green chemicals, Batman doesn’t know that until the Joker appears); Joker’s thugs when the Batmobile drops bombs in Axis Chemicals in an attempt to kill the Joker; in Gotham Cathedral, at the end, one of the Joker’s goons leaps from a high place and falls through the floor (while Batman didn’t kill him, he didn’t try to help him, either, which I think comic book Batman would have); and another of the Joker’s goons gets dropped down the length of the cathedral when Batman swings up, grabs him with his calves, and drops him to his death; and, of course, there’s the Joker, who Batman uses the Batbolo (?!) to tie to a gargoyle as the Joker’s helicopter is trying to lift him away. Killing the Joker was a huge mistake because it meant that he couldn’t appear in any sequels. Of course, I’m sure that movie magic would’ve brought him back, as so often happens in comic books, but it would’ve been weak.
When the box office receipts cleared the air, Batman did several things: It revitalized interest in Batman in a mass way that hadn’t been there (except when news got out that Robin would be killed off in the comic books in 1988); it started a huge movie franchise for Warner Bros., who’d sold the film rights to Superman after Superman III; it gave DC Comics a popular film franchise character to capitalize on, something that hadn’t happened since around Superman III (because 1988’s Superman IV: The Quest for Peace was a turkey in every way); and it gave Tim Burton a shot at the big leagues. Up until this movie, Burton was the quirky director of quirky films that turned in a profit. After this movie, he was Tim Burton, the director of Batman. It allowed him to make what could arguably be called his most important movie, Edward Scissorhands.
The even bigger side effect, I think, is that the success of Batman brought a generation of kids to comic books that might have neglected them beforehand. Sure, the mid-to-late-1980s are filled with important comic books that showed the artform as something more than just throwaway entertainment. Names like Frank Miller, Alan Moore, Grant Morrison, and Neil Gaiman became household names for people who read a lot. If you were a reader, chances are you saw articles about Batman: The Dark Knight Returns, Watchmen and V for Vendetta, Batman: Arkham Asylum, and The Sandman and may have been interested in them. But the huge success of the movie Batman brought kids like me into comic book shops for the first time to not only buy the various (and plentiful) Batman comics that existed, but got them interested in other titles. It even made comic books seem like a possible career path. I think that without Batman, I might not be writing this. Batman got me to look at comics again, to read them again, to go to the local comic book shop every Saturday, to want to draw and write them. This eventually got me into the local Waldenbooks, which eventually led me to buy The Shining by Stephen King, which made me want to ditch the art thing and just write.
With Batman, Warner Bros. had a new hit that could become a franchise. So of course, it wasn’t long before they approached Tim Burton about a sequel. And fresh off the success of Edward Scissorhands, he said yes.
From Gotham to Gautham: Batman: The Movie (1966)
Twenty-seven years after Batman first appeared on the comic book page and seventeen years after he last appeared on the silver screen, 20th Century Fox released Batman to theaters. Of course, this wasn’t a new Batman on film, but rather a spin-off movie of the popular television series, the first season of which had aired between January and June of 1966. The loud colors, tongue-in-cheek humor, and satire made teenagers and young adults dig the show, while the same colors, action, and cool gadgets made younger viewers rediscover Batman.
The popularity of the TV series, which only lasted three seasons between January 1966 and June 1968, kept it in reruns and was my first live-action Batman in the late-1970s/early-1980s. The show aired nearly every day and like The Adventures of Superman starring George Reeves, in this time before cable television had taken a grasp on the world, it was common for these holdover shows to air a lot. To me, Adam West’s Batman and Burt Ward’s Robin were Batman and Robin for a great many years. When my father brought home Batman comic books, I couldn’t understand why Batman’s ears were so long and I couldn’t see his eyes. So I drew the eyes in. I remember playing with my Mego Pocket Superheroes Batman and Robin and mimicking the horns that played every time Batman or Robin punched someone in their brawls.
Batman: The Movie seemed to air on Sundays. Not every Sunday, but once or twice a year, usually on channel 56, out of Boston. It was cause célèbre. It had four of the best Batman villains, the Batmobile, Batboat, Batcycle, and Batcopter, and an exploding shark! And don’t even get me started on the bomb!
And I sometimes wonder why I didn’t have more friends when I was a little kid.
The cast is pretty good. Adam West and Burt Ward look like Batman and Robin and Bruce Wayne and Dick Grayson. Granted, West may have been able to work out a little for the role, but overall, his jaw is pretty Batmanish and he looks physically able to do some stuff. Burt Ward looked young enough to be, if not a boy, definitely a teenager. They also seem to really enjoy being these heroes. They relish the dialogue and silliness of it, but never give in to it. They play it absolutely straight.
Cesar Romero, Burgess Meredith, Lee Meriwether, and Frank Gorshin play the Joker, the Penguin, Catwoman, and the Riddler in a delightfully frantic way. They seem to understand what the show was about and seem to enjoy their roles, chewing up the scenery as they go. Romero as the Joker, even though he wouldn’t shave his mustache, is perfect. He represents the Joker’s lighter days from the 1950s and into the 1960s, when the Comics Code Authority were at their height. Meredith as the Penguin is phenomenal. He is the leader of the group of villains and is somehow simultaneously mean and hilarious. As the Penguin, there’s a gleam in his eye and you both fear and love him. Lee Meriwether stands in for Julie Newmar, who had prior obligations and couldn’t reprise her television role for the movie. Meriwether is excellent as Catwoman. She slinks across the screen, playing verbal ping-pong with Adam West. The Catwoman is pretending to be a Russian reporter and Bruce Wayne definitely has a thing for her. It’s great.
I actually want to single out Frank Gorshin as The Riddler. He’s the best of the villains in this movie, though he’s not given as much to do as The Penguin or Catwoman. He’s off-the-wall one moment and then very dark, even scary, the next, only to return to his hyperactive ways. Of all the villains, Gorshin makes the Riddler seem the scariest. His face can go from dead serious one moment, to insane laughter and glee. Perfection.
In terms of capturing what the TV show was about, the movie succeeds quite well. Shot at the very end of the first season, and released during the summer between the first and second seasons, it is an epic story that could easily have been several episodes, but uses the big screen to open things up. There are shots of Wayne Manor that one doesn’t see in the series, for instance. Also, the movie introduces three new vehicles in this Batman’s world: the Batcycle (with sidecar), the Batcopter, and the Batboat. Shots of the Batcopter flying over 1966 L.A. are priceless.
The small political statement that’s woven into all the silliness is also pretty cool. The writer, Lorenzo Semple, Jr., who was the head writer of the series, interjects some politics into the movie. The villains decide to kidnap the United World Orginization’s Security Council (a play on the United Nation’s Security Council), whose members spend all their time bickering and not getting much done. They argue so much, they never see the colorful villains in the room with them (see the above group shot of the villains) or realize they’ve been dehydrated into multi-colored dust and then rehydrated back to themselves, almost. There’s also a jab at then-president Lyndon Johnson, as well as the government selling old military vehicles.
The satire and parody of 1950s Batman comic books as well as the movie serials is pretty good, as well as the way comic books had to be watered down after Wertham’s Seduction of the Innocent nearly destroyed the American comic book industry. Having Batman and Robin be deputies of the law, saying things like they are pro-police, and even having the police take their hats off to them as they fly by in the Batcopter, is all amusing.
I couldn’t possibly mention this movie, or the TV series, without giving some love to the Batmobile. For a generation, this was the real Batmobile. Last year I went to the Rhode Island Comic Con and saw the Tim Burton Batmobile, it was cool. But not as cool as seeing this Batmobile would’ve been. From its exterior to its interior, this car is a beauty. Love it.
For a big screen foray of an adventure series, it still feels an awful lot like the TV show. Perhaps the budget they were given for the movie wasn’t as large as it could’ve been. Maybe I’m writing this from the viewpoint of having seen Superman and General Zod destroy a huge amount of Metropolis. Whatever the reason, it’s not as big as it could be.
Some of the jokes fall flat. After recently watching the IFC marathon of the series, the movie feels watered-down. The jokes aren’t as sharp. The shark? It’s ridiculous, and I guess that’s what they were going for, but doesn’t feel very pop art funny.
The real darkness of not just the movie, but of the entire run of Batman, was its lasting impact. In the early 1960s, in response to the popularity of new comic book heroes like The Fantastic Four, Spider-Man, and, generally, all of the new Marvel characters at that time, DC decided to try to breathe new life into their comics. By recreating the 1940s character The Flash as a hip, young man with no ties to the original, DC spawned the Silver Age. One of the things they decided to do was to bring Batman back to his more serious roots, while changing the costume up and making him seem cooler to the kids of the time. Carmine Infantino is the artist credited with giving Batman the yellow oval.
Just as the new Batman was debuting in comic books, ABC aired Batman and the decision was made to make the comic book more like the TV series. By the early-1970s, with the show dead by a few years, editor Julius Schwatrz wanted to bring a more serious tone to DC overall, making it even more like Marvel. He experimented with Green Lantern and Green Arrow, two heroes that were not selling very well. When they succeeded, he moved the creative team from that book to Batman. The team, writer Dennis O’Neil and artist Neal Adams, brought Batman into the 1970s by updating him and his cast. Robin was now off at college, appearing when needed. Bruce Wayne left the huge Wayne Manor and moved into a penthouse apartment at the top of Wayne Foundation, which was run by Lucius Fox. The Joker became a killer again.
Here’s the thing, though, unless you actively read the comics–and there weren’t many who did–nobody knew of these changes. Mention comic books, and it’s Biff! Pow! Whammo! Sound effects that hardly ever made their way into the actual comic books before the TV series, never mind after! Batman and Robin were planted deeply in the mind of the general audience as Adam West and Burt Ward, sliding down Batpoles, using Bat-Shark Repellent, and serving public service announcements within dialogue. The damage done to the comic book industry as a result of the constant reruns of Batman almost killed it many times over. And even as Richard Donner’s 1978 masterpiece Superman: The Movie made people aware that comic books could be brought into modern times and be relevant, one can’t help but wonder if the relationship between Lex Luthor (Gene Hackman) and his sidekicks Otis (Ned Beatty) and Miss Teschmacher (Valerie Perrine) would’ve been different without the Batman TV show still so planted in the minds of viewers. And even now, in 2014, when comic books and comic book characters have become huge business, there are still articles and news stories that insist on using silly sound effects as a lead-in or in the title.
Serious comic book fans like to bash the Batman TV series and 1966 movie (the entire Adam West/Burt Ward series/movie has come to be referred to as either Batman 1966 or Batman ’66) for its silly take on the characters but the series and the movie are fun to watch. If you were born in the 1970s, you saw the show and movie on TV all the time and Adam West was your Batman. Hell, when I was younger, I dismissed the series as silly and insulting. Of course, this happened right around 1989, the year I turned 12, and that’s a tough age anyway.
For better or worse, Adam West left his mark on the character of Batman, a mark that wouldn’t be removed until 21 years after the cancellation of his TV series.
From Gotham to Gautham: Batman and Robin (1949)
Ten years after his debut in Detective Comics #27, Batman returned to the big screen in the Columbia Pictures serial Batman and Robin. This go-around, Batman/Bruce Wayne is played by Robert Lowery and Robin/Dick Grayson is played by Johnny Duncan. Alfred (Eric Wilton) returns and Commissioner Gordon (Lyle Talbot) and Vicki Vale (Jane Adams) make their debuts. This time, Batman and Robin are up against the enigmatic Wizard, who plans on using a massive remote control to take over the world. I think. I can’t really remember what his overall scheme is.
Like the 1943 serial Batman, Batman and Robin is fun to look at nearly 70 years later as a relic of a time gone by rather than any mastery of filmmaking. As with the first serial, one gets the sense that the producers are chomping on their cigars, not worrying about plot or realism because children (boys, mostly) are the main audience.
Batman and Robin is a sort-of-sequel to Batman. In the first episode, it actually shows clips from the previous serial as the narrator explains who Batman and Robin are, yet I don’t know if it is an actual sequel. This serial was released five years after World War II and any mention of Batman and Robin being secret agents for the U.S. are gone. They are crimefighters. It was also released six years after its predecessor, which would mean many of their original target audience might have outgrown their anticipation for such a release. And with different actors playing the roles, it makes the strong case against this story being a sequel that much stronger.
Robert Lowery is a better Batman in some ways than Lewis Wilson. He’s a tad more Batmanish. The costume is even slightly better…I think. Batman doesn’t get rescued as much and he also doesn’t get his ass handed to him as often.
Vicki Vale making an appearance is good and she’s only the damsel-in-distress a couple of times over the 15 chapters.
No uncomfortable racism. Political correctness may suck sometimes, but what was going on in the first serial was over-the-top.
The overall storyline isn’t that bad, I guess. I’m stretching here…
Robin is too old. Douglas Croft looked like a kid in the first serial. Johnny Duncan looks like a man in this serial, but is forced to be the Boy Wonder. His voice is almost as deep as Batman’s! His acting is all right, maybe even better than Lowery’s, but it’s odd seeing this man play Robin.
Batman is an asshole. I mentioned in the last essay that Batman/Bruce Wayne plays mean jokes on Alfred, and is very flippant about his girlfriend’s concerns. She needs help and he comes up with some lame reason for not helping her so he can run off and help as Batman. In this serial, Batman is just…well…an asshole. His (ass-)holiness pops up throughout. An especially great asshole moment is in episode 8. Someone points to Vicki Vale and asks, “Who’s this?” Batman smiles and responds, “Oh, don’t mind her. She’s always taking pictures nobody ever sees.” I mean, how much more of a douche can you be? Well, this Batman has ways. Alfred is the butt of jokes again. He ribs Vicki Vale tirelessly. He’s just an asshole.
Vicki Vale is a fairly strong woman character in this serial, but she does very little. There’s a point when The Wizard has turned himself invisible that Batman and Commissioner Gordon ask if she can use her camera to take The (invisible) Wizard’s picture with an infrared bulb. She asks, “And just how do you focus on someone you can’t see?” To which Basshole–I mean Batman–replies, “That’s up to you to figure out.” And she accepts this asshole’s “help.” She does what’s she’s asked to do, even so far as being able to have the picture not only see the invisible Wizard, but through his mask as well! Still, I wish she had more to do.
Plot inconsistencies. Of course. Moving on…
Guns. Again, there are guns that no one uses except for sometimes.
Batman and Robin are horrible at hiding their identity and the world around them are morons for not figuring it out. They drive Bruce Wayne’s car. At one point, they pull into his driveway, and jump out, running into the house. They are spotted several times in and out of costume. The bad guys do believe Wayne is Batman at one point, only to get thrown off when Alfred dons the batcostume so Bruce can escape. The funny thing is that Alfred also manages to change his body to wear the suit perfectly. Well…as perfectly as this suit fits anyone.
The costumes are horrible. All of them.
The city streets (i.e., the Columbia backlot) never has anyone walking on them. All the cars are the same, Mercuries, even the police cars, which don’t look any different than civilian cars. The backroads and country around L.A. is as prominent as in the first serial, and…and…and…
The mind spins. Again, the fun of watching these serials is seeing a piece of cultural history on display. These are not perfect films. The acting is shoddy, the writing is bad, and the production has little value or art. I can recommend this only to the hardcore Batman fan who wants to see a piece of the character’s history. After these 15 chapters played out, it would be seventeen years before Batman hits the silver screen again. Inspired by…these serials.
Also check out the website Batman On Film for a great write-up on the serials. I used this, as well as the Wikipedia entry as sources.
From Gotham to Gautham: Batman (1943)
Four years after Batman’s debut in Detective Comics #27, Batman and Robin hit the big screen for the first time in a Columbia Pictures movie serial. The story is told in 15 chapters and is amusing to watch with 70 years distance. The plot concerns Batman (Lewis Wilson) and Robin (Douglas Croft) trying to foil a scheme by the evil Dr. Daka (J. Carrol Naish).
This movie serial came out at the height of World War II and there is quite a bit of propaganda and outright racism. Dr. Daka is a Japanese spy whose goal is to use a radium-powered ray gun to help overthrow the United States. Batman is employed by the U.S. government to stop Daka’s plan. This involves Bruce Wayne’s girlfriend Linda Paige (Shirley Patterson), her uncle, and zombies. Not risen-from-the-dead zombies but mind-controlled people controlled by Dr. Daka. Batman triumphs with the help of Robin and his butler Alfred Pennyworth (William Austin).
(Did I spoil that for you? I’m sorry. But in my defense, this is a 1943 movie serial aimed at kids and featuring a comic book superhero. This is 43 years before Frank Miller’s game-changing Batman: The Dark Knight Returns and Batman: Year One stories where anything could–and does–happen).
Until I decided to do these essays, I’d never seen this version of Batman. I knew of it, of course, but hadn’t seen it. (Nor had I ever seen a movie serial). So my first viewing of this serial was as a 34-year-old adult.1 It must have been pretty cool, though, to be kid in 1943 and seeing these chapters. Yes, there are some changes from the comic book (Batman as government agent is but one) but it must have still be pretty nifty (or whatever the slang was back then) to see Batman and Robin fighting bad guys on the big screen. Let’s get into the nitty-gritty.
Lewis Wilson and Douglas Croft seem to work well together as Bruce Wayne/Batman and Dick Grayson/Robin. You get the sense that they’ve been working together a while. Wilson is pretty good as Bruce Wayne, giving him an arrogance that is almost mind-blowing at times. Croft gives Dick Grayson/Robin just enough boyish charm to appeal to the boys in the audience but is tough enough to hold his own. As a matter of fact, Robin tends to save Batman more often than the other way around in this serial.
William Austin as Alfred Pennyworth is also quite enjoyable, though not in a serious manner. Alfred is the comic relief of this story which is essentially about the Japanese taking over the United States, turning Americans into zombies.
Shirley Patterson as Linda Paige, Bruce Wayne’s oft-suffering girlfriend. Yes, she has moments of eye-rolling “I’m a woman and am therefore helpless” but she doesn’t hold back from putting Bruce Wayne in his place. Her uncle had just been released from prison and is kidnapped and she wants to look for him. When she asks Bruce for his help, he essentially tells her he can’t because he has some sort of inconsequential thing to do. She gets angry, tells him to buzz off, and then leaves. More on this later.
The action. Ranging from 26 minutes to 13-and-a-half, every chapter has at least one fist-fight, some have two. And because they comprise a serial and they wanted the kids to spend their dime next week, too, each chapter has a cliffhanger that puts Batman in some sort of jeopardy.
For modern audiences, this serial is an interesting look back on an artform that helped inspire what television series would become. It is also an interesting look at that time period and what entertainment was like. One of the charms of the serial is the low-budget feel. In one fight scene, Batman’s cape falls off in one shot and reappears on him in the next. In another chapter, Batman is climbing off a fire escape and some stuff falls out of his cape. After rewatching it multiple times I still don’t know what it is. This is low-budget, let’s get it done filmmaking.
Lewis Wilson may have been pretty good at getting Bruce Wayne’s “devil-may-care” attitude down, but he also plays Wayne/Batman as a jerk. This is not his fault, though, rather the writers Victor McLeod, Leslie Swabacker, and Harry L. Fraser, as well as the director’s (Lambert Hillyer). By the end of the first chapter (“The Electric Brain”), Batman and Robin have gotten their hands on Dr. Daka’s ray gun. In the second chapter (“The Bat’s Cave”), Bruce Wayne decides to scare Alfred, winks and nods at Dick Grayson, and then blasts something right near Alfred. The older man looks like he may have a heart attack while Bruce and Dick yuk it up. This kind of behavior happens throughout. Alfred is often the butt of the joke, or Linda is basically told she’s second fiddle to whatever plans Bruce has that day. Her uncle is missing and she keeps getting in trouble, but Bruce shrugs it all off so he can run off and be Batman. And as Batman, he’s kind of weak.
More than weak, Batman sort of sucks. While it must have been great to see the comic book character on the big screen for the first time, I wonder how the boys (and girls?) in the audience took to their hero being so ineffective. Batman is picked up by the bad guys and either thrown over the edge of something or nearly thrown over the edge of something in almost every chapter. In chapter 14 (“The Executioner Strikes”), Batman is trying to save Linda in an obvious trap (he knows it’s a trap) and the thugs walk in. One thug immediately walks up to Batman and hits him with the butt of his revolver, knocking Batman out, quicker than it took you to read this sentence. I understand this is a movie serial and putting the hero’s life in danger at the end of each chapter is supposed to get kids involved enough to want to come to next week’s show, but making your hero look no better than the average man goes against why you’d do a Batman story anyway.
The racism in this serial is mind-blowing, especially in the ultra-politically correct 21st century where one is offended by anything. The first chapter begins in a desolate part of Gotham City known as Little Tokyo. The narrator assures the audience that it’s safe because the “shifty-eye Japs” have all been “rounded up.” The narrator is referring to the Japanese-American determent camps that the U.S. government forced its own citizens to live in during WWII in case they decided to align with their former homeland. Of course, there were no German-American determent camps because it was harder to tell those of German ancestry than those of Japanese. Dr. Daka is played by a Caucasian man á la Warner Oland’s portrayal of Charlie Chan. His headquarters is hidden within a cave-of-horror funhouse-type ride that depicts wax Japanese people performing atrocities to White people. In chapter 8 (“Lured By Radium”), going out to the country, the thugs stop by a Native American on the side of the road selling “Indian Artifacts”. One thug says, “Hey, Sittin’ Bull,” before asking whatever question he needs to. Chalk that up to the thug being a bad guy and all. But when Bruce, Dick, Alfred, and Linda stop, the old Native American speaks in that Hollywood Indian dialect, “Me don’t know…Me this and Me that.”
Plot consistency. I know, this happens all the time (and will pop up throughout these essays) but they’re pretty bad here. At one point, one of Daka’s thugs say, “Hey, what if this Bruce Wayne is Batman!” Daka replies that Bruce Wayne couldn’t possibly be Batman because he’s too stupid and this and that. But by the 14th chapter, Daka says something about the possibility that Bruce Wayne may be Batman. Now, if this kept coming up, it wouldn’t have been a surprise, but it just came out of nowhere. Oh! And there’s the Radium ray guns plotline. After the small ray gun is confiscated by Batman, most of the serial is about Daka scoring more Radium to build a bigger, better ray gun to overthrow the United States. He eventually gets his Radium and has a ray rifle/cannon/thing. And then…. I couldn’t tell you what happens because it seems to be forgotten, either by me or by the filmmakers.
The fights. Oh, man, the fights. They are refreshingly not as slick as we’ve come to expect from Batman, but they are almost too realistic. If Batman is supposed to be one of America’s great secret agents, we’re in trouble. The fights are sloppy and usually end with Batman having his ass kicked so he can be saved by Robin in the next chapter.
Guns! Robin, the Boy Wonder, is given a gun at least twice in this serial. He usually fires into the air to scare the thugs working for Daka but in at least one chapter he holds the gun on them to keep them at bay. Now, it’s well-documented that Batman sometimes used guns in his early days, but by 1943 he hadn’t used a gun for 3 years, and Robin definitely wouldn’t have.
Speaking of guns, this is another thing I noted that can be placed in this section, the thugs only seem to have one pistol between them, and they use it to shoot only when Batman and Robin can find cover. There are several times in this serial when they have knocked out Batman (see above) and just leave him for whatever the cliffhanger will be. I know, I know, this happens all the time in movies and on TV, but considering their orders are to kill Batman, you’d think they might, well, kill Batman when they had the chance.
I found Batman to be rather enjoyable, though not for the reasons the filmmakers meant. It’s a slice of history and made me think about what going to the movies must have been like for my father’s generation. It’s apparent that Columbia made the serial to cash in on the comic book craze that was in its infancy but didn’t really care about the source material. There is no Commissioner Gordon, instead there’s a Captain Arnold. There are no villains from the comic books and Batman and Robin are government agents, not just crime fighters. There’s no Batmobile. Batman and Robin are actually chauffeured by Alfred most of the time (or drive around as Bruce and Dick and then change in the back seat). However, this serial introduced the Bat’s Cave, which we all know now as the Batcave. It may have even had Alfred in its planning stages before he appeared in comics and may be the reason Alfred was in the comics. If you’re a modern viewer who is easily offended by the mistakes of our forefathers in terms of race and ethnic portrayals, then this serial isn’t for you. But as a way to view Batman in a way you probably haven’t yet, check it out. The serial is available on DVD, though I watched it here. Just don’t expect to do so in one sitting. The entire serial is about 4 hours 15 minutes.
Also check out the website Batman On Film for a great write-up on the serials. I used this, as well as the Wikipedia entry as sources.
1 I originally wrote this essay a year before I did the Superman series of essays, so while the two Superman serials appeared on this blog over a year ago, it was two years ago that I watched this first Batman serial.
From Gotham to Gautham: An Introduction to Batman on the Big Screen
I’ve been working on these essays for two years. I began watching and writing about Batman on the silver screen back in 2012, around the time The Dark Knight Rises was to hit theaters. At that point, I’d only done this sort of thing once, for the Nightmare on Elm Street movies. The plan stalled as life got in the way. I re-posted revised versions of the Nightmare essays (which I cleverly titled A Nightmare in Gautham) and then did a series of essays about Superman on the silver screen (From Krypton to Gautham) for the release of 2013’s Man of Steel. That fall, we experienced a Friday in Gautham when I took on Jason Vorhees and the Friday the 13th movies. By now, there were two Batman essays.
This being the 75th anniversary of Bob Kane’s (and Bill Finger’s) creation, I decided to finally finish the series.
It was a daunting task. Batman, like Superman, has been in a lot of movies and TV shows. Luckily, even his most famous TV incarnations eventually made it to the movies.
That’s nearly 30 hours of Batman, which somehow still doesn’t feel like enough Batman. It’s been quite an experience.
So sit back and let’s go to Gotham City….
A Final Visit, or Seeing Your Roots Shrink
On April 20th, my mother sent me and my sister, Tracy, the following message on Facebook:
Got some bad news a little while ago. Uncle Pete found out last week that he has lung cancer. He’ll be getting more tests and chemo starting this week. Auntie Pat said he’s having a hard time breathing. Dad’s going to visit them this week & if I feel up to it, I’ll go too. We’ll keep you guys posted, if you want us to.
I didn’t respond to it because I didn’t feel it was proper to do so in a message to both me and my sister. The reason why I didn’t feel it proper was because my reaction was, That’s sad, but I have no relationship with the man, so….
I know that’s cold. I know that’s probably not the appropriate response, but it was the honest response. I am not close to my family. My mother and father, yes. My sister, somewhat. Everyone else? Not really. Especially on my father’s side.
My father is nine years older than my mother. Born in 1941, he’s the youngest of three children. Growing up, Sundays were the day we went to his parents’ house. We called them Mémé and Pépé; my mother’s parents (long divorced before I was born) were Grandma and Grandpa (or, truth be told, Gramma and Grampa). Sundays at Mémé and Pépé’s meant playing in their spacious yard on a nice suburban street, and then having supper and dessert. Uncle Pete and Auntie Pat were often there. The whole place felt old. There were no other kids. My mother is my father’s second wife and my sister and I were the babies of the family. The house was decorated in a 1950s/1960s hybrid. They didn’t have cable TV. When music was played, it was always old, boring music. Uncle Pete liked us, and I faintly remember playing with him when I was very small. My sister was his and my aunt’s goddaughter, and I guess they kinda took it seriously…?
Auntie Pat pretty much hated me. At least it seemed that way. She’d often walk in on me when I was in the bathroom when I was little. After this happened a few times, I locked the door and was promptly yelled at. I was a kid who yelled back, which made me even more popular. She’d bestow gifts (mostly lame ones) on my sister and ignore me, except to yell. We have it on videotape. Uncle Pete was meek, quiet. He’d ask me general questions but didn’t seem very interested. A nice man, yes, but….
I remember when I was around 12 or 13, we went to Mémé and Pépé’s (which was really just Mémé’s now, because Pépé died when I was 11), and Uncle Pete and Auntie Pat had moved in (Uncle Pete actually owned the house). They’d bought a riding lawnmower. He let my sister, who’s four-and-a-half years younger than I am, ride the mower in his lap. I wanted to ride the mower. I wanted to so bad.
“Uncle Pete!” I called. “Can I ride the mower? Uncle Pete!”
This went on as my sister got her ride. I never got an answer. I was never even looked at.
It’s amazing the shit that stays with you, huh?
Anyway, contact between me and my uncle and aunt grew far less. When Mémé died (I was 16), I saw them. When my father’s sister, the eldest child, Auntie Juliet, died of breast cancer (I was 17), I saw them. I think they were at my first wedding in 2000. I saw them at least one time after that, Courtney was pretty small. Other than that, I didn’t see them. I didn’t care to.
I didn’t know my father’s side of the family well. The old school Canadian-French, Catholic family just didn’t talk. They didn’t tell stories. Even my father didn’t say much in terms of his family or growing up. Really, most of the stories I heard from my father when I was growing up had to do with the prices of things then versus now. My Auntie Juliet and I never really had a relationship. My Pépé adored me but he had his first stroke when I was 8 and died when I was 11. I don’t really remember him well. Mémé loved me but she didn’t tell much in terms of stories. And considering Auntie Pat, who is a loud-mouthed, foul-mouthed woman, from the bad side of town (my mother’s side of town, truth be told), hated me, Uncle Pete and I really had no relationship.
So why respond with negative feelings?
About a month later, my mother told me that the cancer was bad and Uncle Pete might not have long to live. He asked my father to see “the kids and grandkids.” My first reaction was, Fuck that shit.
But I thought about my father. The only family he has left that’s not my mother, me, or my sister is Uncle Pete. And I knew that Dad, meek, mild, devoted Dad, would like me to go. I couldn’t bring Courtney, she didn’t remember Uncle Pete and I wouldn’t want to bring her into that—to me—unknown situation. I wouldn’t bring Genevieve. At 19-months-old, she would be a handful. It so happens that my sister and her fiancée and her fiancée’s daughters were coming up from Florida this week and so plans were made to pay Uncle Pete and Auntie Pat a visit. What will most likely be our last visit.
I wasn’t looking forward to it. To face a dying man I hadn’t seen in, possibly, ten years, who I wasn’t close to; to face a woman I pretty much despised (have I told you she gave me a free sample of Avon’s Musk for Men deodorant as a Christmas present when I was 12?); sounded like a nightmare. But I love my father. I knew it would mean a lot to him.
To solidify plans, I called Wednesday night to confirm that Thursday we would go. As I spoke to my mother, Dad was in the background saying something.
“Daddy says you don’t have to go if you don’t want to,” Mom said. “He doesn’t want you to feel like you have to go and he knows you’re not good in these kinds of situations.”
My social anxiety is well-known in my family. I stopped having birthday parties when I was six.
I told her I would go. I’d go for him. I’d go so my sister wasn’t the only one going. I’d go because I’m an adult and should go.
So yesterday morning, my sister and I climbed into Dad’s minivan and he drove us to Mémé and Pépé’s—er…Uncle Pete’s and Auntie Pat’s—house.
Auntie Pat greeted us. She’s old now. Shorter than I remember. Still big, though. She hugged Tracy and then hugged me. Uncle Pete sat at the kitchen table, in the kitchen I ate in so many times as a boy. The house looked different, of course. But the layout hadn’t changed. He didn’t get up, but hugged Tracy and shook my hand. Old school.
He asked how I liked teaching. I said I loved it. It allowed me to be creative and to play, and I left a mark. Nothing was mentioned about writing. That was fine.
Soon, I sat at the table with him, brought out the iPad, and showed him pictures and videos of Courtney and Genevieve. He hasn’t met Pamela. He saw her now, too. Uncle Pete is still quiet. Auntie Pat still loud. My Dad actually began reminiscing with him, and Tracy and I heard stories we’d never heard before. One story made me laugh so hard I almost cried. We talked.
We didn’t visit long, only about an hour. But something happened in that time. I saw the love and happiness in Uncle Pete’s eyes. Auntie Pat wasn’t a bitch anymore, she was an eccentric old lady, and I am fascinated by eccentric old people. The discomfort I felt at first went away and I was happy to be there. Not just for Dad, anymore, but for Uncle Pete and Auntie Pat.
It was a good visit. Uncle Pete didn’t look or seem sick until the very end, when we were about to leave. He stood up for the first time and he had trouble, obvious pain. He hugged my sister, held out his hand to me to be shaken, and I shook, and then I hugged him. It surprised him but he hugged me back, hard.
Soon were in the minivan and drove away, goodbyes said.
Uncle Pete might have another year or two, apparently this round of chemo seems to be doing something. But he may have another month or so. Or less.
I can’t say that I am now going to go around and visit other family members, because that’s not true. I’ve never really fit in, and I really don’t have much to say to anyone. But I’m glad I went. I’m glad to hear the stories that the Gauthier brothers told.
And I’m happy that my father and my uncle were able to be together with me and Tracy one last time, laughing, happy.
A Very Gauthic Christmas, or My Favorite Christmas Songs
Since I haven’t posted in awhile, and since it’s the holiday time of year, I decided to post something festive. Maybe it’s that I had both the teenager and the baby with me for the last few days and the baby is conscious of presents and fun. Maybe it’s that I’m getting older, but I seemed to have been craving Christmas music lately. So I decided to post my favorite holiday music for you. Keep in mind, this list is not set in stone and could change by tomorrow, but it’s mine and I love it.
10. Blue Christmas as sung by Bruce Springsteen
This is a recent addition to the list. By that I mean, it’s only a few years old. I’m not a huge Elvis Presley fan but one of my favorite songs of his is “Blue Christmas.” Back in 2010, Springsteen and the E Street Band played a show in Asbury Park, New Jersey that was taped. It was to promote his re-release of 1978’s Darkness on the Edge of Town and new album of previously unfinished and unreleased tracks from that era The Promise. The show featured only tracks that appeared on The Promise. Except for this song. I love the way Springsteen arranged it and the general atmosphere of the performance. Also of note, it would be the last “live” recording of Clarence Clemons with the band. He died the following June.
9. Happy Christmas (The War is Over) by John Lennon
Let’s call this one my Artsy Fartsy entry. I don’t know the words, it’s not on my iPod, but I still know it and like it. And it’s John Lennon. Come on.
8. Frosty the Snowman as sung by Jimmy Durante
I wouldn’t have even thought of this if not for a recent trip to the grocery store where this was playing. We grew up watching these specials and sometimes, the versions from those specials are what sticks. That’s the case here. Besides, it friggin’ Durante!
7. Jingle Bell Rock as performed by Hall and Oates
I love Hall and Oates. There. I said it. “Maneater.” “Your Kiss is on My List.” Egads, need I say more?! This song, along with its tongue-in-cheek hokey video, was a part of childhood I always loved. And I just like the song, too.
6. Rudolph, the Red-Nosed Reindeer by Gene Autry
Look, if you grew up with parents who came from the 1950s or 1960s, you had this song played every Christmas. Growing up, the Gene Autry original was my least favorite version. Now, it’s the version. Well, maybe except for…
5. Silver Bells as performed by The Chipmunks
Christmas with the Chipmunks was the Christmas album in my household growing up. I loved it. “Rudolph” and “Frosty” and so many others were done in that madcap Chipmunks way with Dave Seville yelling constantly at poor Alvin. It was my life, only instead of Dave it was my parents and instead of Alvin, it was me. “Silver Bells” was a rare exception. It’s sung by Dave Seville and is a little sad. As a kid, I liked it but it was…well…quiet. Now, it’s the only version of “Silver Bells” I hear in my head.
4. Christmas in Hollis by Run D.M.C.
If you were growing up in the 1980s, and you were open to rap, you love this song. The video is even better. I remember my parents being…shocked? upset? amused?…that I liked this song and probably thought it was just a phase. Yeah, well, guess who rapped it to a 1-year-old the other day? That’s right. This guy!
3. Santa Claus is Coming to Town as performed by Bruce Springsteen
I love the song “Santa Claus is Coming to Town.” I loved the stop-motion animated special. I did not love the Springsteen version. Until recent years. The video shown is good, but the original recording from 1978 (I think, maybe ’81?) is where it’s at. The verse after the sax solo shows a reckless abandon and joy that is pure Springsteen and pure rock n roll. It’s a fun song, okay?
2. All I Want For Christmas is You by Mariah Carey
Yes, I love this song this much. I am not ashamed. It’s a damn good song. I like the music. I love Carey’s vocals. It’s a song that makes me happy. So there.
1. The Chipmunk Song by Alvin and the Chipmunks
This is Christmas to me. This is my favorite song on Christmas with the Chipmunks. It is my favorite Christmas song, period. It made me laugh when I was a kid. I could relate to it. It was just fun. And it still makes me smile. Love it!
Honorable mention goes to “Must Be Santa,” a song I never heard recorded but loved to sing in elementary school.
For me, Christmas isn’t a religious holiday. It’s a day (or time period) to spend with family and friends, to be together, perhaps exchange gifts, eat, and have fun. And enjoy some music. So have a happy Christmas, if you celebrate. If you don’t, go be with people you love, eat, and sing some songs anyway. We could all use a little more of that, right?
Friday in Gautham Part XI: Freddy vs. Jason (2003)
Look, I already wrote this essay, but this one is going to be a little different. When I originally wrote about Freddy vs. Jason, it was from the viewpoint of a Freddy Krueger fan who’d hardly seen any of the Friday the 13th movies. At this point, I’ve seen them all and feel a little more comfortable going into my thoughts on this movie in regards to Jason. If you haven’t already read my original (and I’ll say, for now, definitive) take on Freddy vs. Jason, click on the link and read it. It all still applies.
I like this version of Jason Voorhees (Ken Kirzinger) probably more than any other. I know that Friday the 13th fans (those poor souls who will admit to it) were outraged that Kane Hodder was not cast as Jason in this movie, even after it had looked like he would be. I know there are still people upset by this. Get over it. Ken Kirzinger’s Jason actually performs in this movie. One gets a sense of vulnerability even though Jason is still the cold-blooded, mindless killer who has been through ten (should I even count Jason X?) movies. And his size is quite imposing.
The movie has a silly basis and is fun. There are a few creepy parts (belonging to Freddy) but it’s really not scary. It’s gory, silly fun. Anyone going into a movie called Freddy vs. Jason wouldn’t want it any other way. In this movie, Jason is his normal force to be reckoned with. He stabs, crushes, beheads, impales, and slashes his way through the victims in this movie in the way he always had. If anything, this movie’s silliness allows it to be the goriest of all the Friday the 13th and A Nightmare on Elm Street movies.
There’s an attempt by the screenwriters Damian Shannon and Mark Swift, and director Ronny Yu, to give both characters a little more background, and make them more human. In this case, it’s mostly Jason who gets the real winning treatment. Because Freddy is portrayed as a manipulative monster who is more than willing to torture any- and everyone, it falls on cold-blooded, murdering, mindless Jason to be the more “sympathetic” one. In some ways, it actually works.
Katharine Isabelle. All right, I mentioned her in the first Freddy vs. Jason essay I wrote for A Nightmare in Gautham. I think she’s beautiful.
The silliness is a cliché and wouldn’t it have been interesting if the filmmakers actually tried to make a genuinely scary movie? With the brute freight-train of Jason, and the psychological menace that is Freddy, the filmmakers could’ve really gone for the jugular with a movie in which no one is safe anywhere and in the end, the monsters fight for more than just survival (or the audience’s amusement). Just a thought.
Jason’s wardrobe doesn’t match anything he’s worn before. That said, I like this outfit better than all the rest. Freddy’s wardrobe has also changed in its details, and that bothers me.
Jason is afraid of water. I understand that the filmmakers wanted to do something that would mess him up, to give Freddy an advantage over him, but a fear of water? This same character who has, time and again, walked willingly into Crystal Lake? Who boarded a ship going to New York City? Really? But…yeah…he’s afraid of water in this.
Saturday the 14th
As I said in the other essay, Freddy vs. Jason is really Freddy’s movie. Jason has about as much screen time (and way more kills) but it’s really Jason in Freddy’s world. The last act of the movie takes place at Crystal Lake, but by then, Jason has terrorized Springwood and all the locales Nightmare on Elm Street fans know. While Jason is placed in a fairly sympathetic light, Freddy owns the movie. Maybe it’s because this was done by New Line Cinema but I think it boils down to the Nightmare on Elm Street movies show far more imagination than the Friday the 13th movies. In 10 movies, nearly every story involves Jason coming back and butchering people in various ways and in various locales. In seven movies, Freddy Krueger doesn’t kill as many people, but the deaths are far more memorable, as are the victims. By using the dreams and secrets of the teenagers Freddy haunts, he gives them a life that their waking interactions don’t in the weakest of the movies. With Jason, it’s just killing. This movie highlights those differences.
A sequel was proposed as New Line Cinema was looking into acquiring the Evil Dead franchise. Freddy vs. Jason vs. Ash would’ve had the stars of this movie square off against Ash, presumably played by Bruce Campbell. The deal with the Evil Dead people fell through and New Line decided that remakes would be the best thing to utilize these characters.
I’m not opposed to remakes in general, especially if really good filmmakers are behind it….