Monthly Archives: September 2014
According to Tim Burton, after Batman Returns came out and was a hit, he was willing to go back to Gotham City again. While he may have hesitated going back for the first sequel, being allowed to really let his imagination go within the Batman’s universe must’ve been to his liking. So when he met with Warner Bros. executives, he launched right into his ideas for Batman III. Except, the execs weren’t reacting in a favorable way. Burton began to realize that it wasn’t just his ideas for a Batman sequel they weren’t in favor of, they weren’t really interested in having him return. So Burton bowed out of the movie. The execs, probably realizing that some of the fans of the first two movies might get upset, signed him on as a producer.
The general idea seems to be that Batman Returns was too dark for many people. Children going into the movie were frightened by the Penguin and parents were no doubt horrified by the sexual jokes and innuendo throughout. Warner Bros. wanted to make Batman more family-friendly. Somehow or another, they went to Joel Schumacher, director of such family fair as The Lost Boys, Flatliners, and Falling Down.
Michael Keaton had been asked to reprise his role as Bruce Wayne/Batman, and seemed willing to do so when Tim Burton would possibly direct, but then didn’t seem sure. Schumacher had seen Val Kilmer in the film Tombstone, where he played Doc Holliday, and thought he would make an interesting Bruce Wayne/Batman. Kilmer accepted the role.
The basic feeling, according to the extras on the Batman Anthology Blu-ray, was that Warner Bros. wanted to reinvent the franchise. Schumacher met with Burton several times at the beginning stages of the movie.
Batman Forever came out to more media hoopla than even the first movie. The merchandising of 1989’s Batman seemed almost an afterthought. By Batman Returns, mini-Penguins appeared in McDonald’s Happy Meals. For Batman Forever, everything was marketed.
By now, I was coming to the end of my high school career. Weeks after I graduated elementary school, Batman came out. Weeks after I graduated high school, Batman Forever came out. By now, I was older, hopefully a leeeetle wiser. I didn’t need Dad to take me, I could go myself. I was rather surprised by the movie as a whole (even though I’d read the novelization, written by the great Peter David. If you haven’t read his novel Sir Apropos of Nothing, go do so! Phenomenal work).
The bat costume in this one returns to the muscle sculpt, only more stylistic. And yes, there are nipples on the suit. My reaction then, and now, is: Who cares? Why not? Well, it’s silly. Yes, it is silly to put nipples on a rubber bat suit that will be worn by a grown man in his 30s so he can fight strange people in other silly costumes. Do you get it, yet? The whole thing is silly. Calm down. Drink your juice. Anyway, I like the look of the main bat suit in this movie. It’s sleeker, it looks pretty badass. It’s fine. And Robin’s costume isn’t bad either. Within the realm of this universe, it’s fine.
Jim Carrey as the Riddler kind of steals the show. His manic energy starts at Frank Gorshin’s level, and then goes atomic. Just as Jack Nicholson and Danny DeVito got lost in their roles, nearly stealing their shows, Carrey’s Riddler does the same. That said, I’m going to withhold any more of my comments on Carrey’s performance for later.
The irony. Not within the script or story itself, but that the reason Warner Bros. went with Joel Schumacher is because of how dark in tone Batman Returns was, yet, Batman Forever has moments nearly as dark, if not darker. And it would’ve been even darker if they’d kept the actual characterization and personal journey that Bruce Wayne goes through in this movie. In Peter David’s novelization of the script by Lee Batchler, Janet Scott-Batchler, and Akiva Goldsman, and apparently in earlier cuts of the movie, Bruce Wayne is suffering from nightmares of repressed memories. In a metaphysical/symbolic scene, Bruce eventually faces a giant bat from these nightmares and makes the decision to be Batman…forever. See? For some reason, most of the scenes were cut. Still, the movie is still pretty dark in both tone and actual darkness.
Michael Gough as Alfred still rocks. His care for Bruce is evident, and the way he works with the newly-orphaned Dick Grayson (Chris O’Donnell) is realistic and entertaining.
The attempt to expand Bruce Wayne’s story. Apparently, Joel Schumacher had proposed doing an adaptation of Frank Miller’s Batman: Year One. When Warner Bros. declined, insisting on doing a straight sequel, Schumacher had the screenwriters go back to the Waynes’s murder and expand on the story. While much of this material was cut from the final film, what remains has Bruce Wayne choosing to be Batman. The idea is that in the first two movies, and even through much of this one, he felt a need to continue. Now, facing his past and coming to terms with it means that it’s no longer an obsession so much as a job. In many ways, this is actually a good (albeit weird–who wants to dress up as a bat and fight deadly criminals?) thing for the character. It means that Wayne has come to terms with his parents’ deaths and can begin the process of healing. Whether remaining Batman forever will help in this healing is doubtful, but it’s a step to making Bruce Wayne a more fully realized character. And I’m all for that.
The acting is bad. Joel Schumacher gets a bad rap from Batman fans. They’ll call him inept, and silly, and frivolous, and that kind of thing. He’s really a decent director. The Lost Boys should’ve been silly, but it’s an effective horror movie. His John Grisham adaptations, and movies like Falling Down all have characters you care about to some degree, with fairly good acting. But perhaps too much time was spent on costumes, effects, neon, lighting, nipples and bums, neon, Jim Carrey antics, and neon to pay attention to the actors’ performances. Val Kilmer, who can turn in great performances, is horrible as Bruce Wayne and only marginally better as Batman. He’s wooden, stiff, and his voice never emotes. Nicole Kidman, who has pretty good acting chops, gives a performance one expects from a high school production (I’ve actually seen better acting in high school performances, to be fair). Her character, Dr. Chase Meridian, is one of the worst psychiatrists I’ve ever seen, and throws herself at Batman almost immediately.
Some people weren’t thrilled with Robin’s introduction to the Batman movie world, but I was cool with it. Batman had Robin longer than he didn’t. But Chris O’Donnell is pretty bad in this movie. I think he does the best he can with the script, honestly, but the role isn’t great and he’s not great in it. It’s a shame, really. I would’ve loved for Dick Grayson/Robin to have worked.
I gave Jim Carrey some props before, and he does steal the show, but when he’s onscreen, it becomes a Jim Carrey movie. An early-1990s Jim Carrey movie. So we have Batman vs. Ace Venture: Pet Detective/The Mask. (Wait…I need a ticket to Hollywood…I smell a million-billion dollars!). He overacts the entire time he’s onscreen. The subtly of his performances in The Truman Show and Man on the Moon are nowhere to be seen here. And the worst…
It pains me to do this, but Tommy Lee Jones deserves his own paragraph here. His take on Harvey Dent/Two-Face, in this movie called Harvey Two-Face, is horrible. I blame the Akiva Goldsman and Joel Schumacher. Schumacher wanted Jones to play Harvey Two-Face immediately. Jones wasn’t so thrilled. In interviews given at the time, he even says it took him a while to warm up to the idea of playing this character and that it was his son’s enthusiasm for the character and movie that really got him to say yes. There’s no problem so far, because I think Jones would make a great Harvey Dent/Two-Face. Yet, it’s pretty apparent that Goldsman’s rewrite of the Batchlers’ script lightened the tone of the characters, and Schumacher wanted things to be more theatrical. The fact that Jim Carrey’s portrayal of Edward Nygma/the Riddler was allowed to get so out of hand, it almost meant that Tommy Lee Jones had to be large. And a big part of that is…
Your definition of a “comic book” is different than mine. Throughout the documentary features on the Batman Anthology Blu-ray set, Schumacher, Jones, and just about everyone else working behind the scenes keeps referring to Batman Forever as a comic book movie. This is fine. That’s exactly what Batman Forever is. The problem is that the readers of comic books of 1995 and the filmmakers who made Batman Forever based on the Batman comic books they grew up reading were coming from totally different places. Consider this: The two comic book stories that convinced Tim Burton to take on directing Batman were Frank Miller’s Batman: The Dark Knight Returns (1986) and Alan Moore’s Batman: The Killing Joke (1988). Both were new stories that came out right around the time Warner Bros. offered the movie to him. His initial reaction to the offer, if I’m not mistaken, was No thanks. It was upon reading those two mid-1980s stories that Burton decided he might be able to make this movie, and signed on. Those are two of the darker stand-alone Batman tales from that time period, and, along with Miller’s Batman: Year One (1986), set the tone for Batman stories for the next thirty years.
In nearly every interview that is on the Batman Forever disc, from actors to director and everyone in between, we hear about their memories of Batman comic books growing up, and how they did everything they could to make the movie like one of those comic books. Schumacher, born three months after Batman’s debut in 1939, would remember him from the 1940s and 1950s, during Batman’s more zany days. Hell, he may have even been one of those kids at the movies watching the Batman serials. Even Chris O’Donnell mentions the TV show as a fond memory, saying in an interview on the disc that he didn’t really like Batman Returns because of how dark it was.
So Warner Bros. gives Schumacher the word to tone down the darkness, and he obliges by making a comic book movie in the style of comic books he grew up reading. The people working on the movie don’t care, because their memories of Batman comic books are from the 1940s, 1950s, and 1960s. Maybe some of the 1970s, though by that time, Dennis O’Neil and Neal Adams, under the stewardship of Julius Schwartz, was bringing Batman back to his dark roots.
I hate to say it, but Schumacher was doing exactly what he was told to do, in the exact way he felt it should be done. So if the movie looks overproduced, it’s because he’s making a Schumacher comic book movie. And it does look overproduced in strange ways. One last thing, though, I don’t necessarily buy that Schumacher was unaware of what was currently going on in comic books at that time. He seems like he’d have his thumb on pop culture. I’m not sure why, but that’s how it seems to me. Also, if I have the story correct, he originally pitched doing an adaptation of Frank Miller’s Batman: Year One, which would’ve been more in line with his filmography. Warner Bros. was more interested in doing a third story in the already-existing universe, but lighter.
The film is hypocritical. After Two-Face–sorry–Harvey Two-Face–kills Dick Grayson’s entire family (for some reason, they give him a brother, because losing your parents isn’t enough), Bruce Wayne takes the young man in. Now, Chris O’Donnell looks too old to be taken in by Bruce Wayne. Dick Grayson was originally supposed to be around 12 when Wayne took him in back in 1940. O’Donnell looks like he’s in his early 20s. So there’s that bit of miscasting I failed to mention above. Anyway, once Dick finds out Bruce is Batman, he wants to join him as a partner. His main goal: to kill Harvey Two-Face. Bruce tells him that killing Harvey won’t do any good. That he’ll be empty inside and still grieving. Now, this is touching. We know that Batman has killed his parents’ murderer (the Joker, in the first movie) and didn’t stop being Batman. He’s still solemn, dark, and brooding. And now suffers from nightmares. He’s also killed the Penguin and a whole bunch of henchmen along the way. Who knows who he’s killed between movies? And now, he doesn’t want to kill anymore. All right, I’ll buy that. Yet, guess what happens at the end of the movie? Yeah. Harvey Two-Face Dent dies. Batman does something that eventually leads to Two-Face falling to a rather gruesome (off-camera) death. And Robin is obviously satisfied. And that is the message we’re delivering to little kids.
The CGI is horrible in the movie. I know it was toward the beginning of CGI work, but you had pretty good looking dinosaurs roaming around two years prior in Jurassic Park, and Forrest Gump running through CGI work the prior year, so your Gotham City computer landscapes, and vehicles, should probably look better than they do.
The story is really pretty bad, and I think it’s the deletion of Bruce Wayne’s dark psychological problem with nightmares. It was the glue that held the story together and by getting rid of it, you lose the emotional thrust of the movie. And in an attempt to lighten the mood, the movie resorts to bad one-liners. The movie opens (after a lame CGI credit sequence that feels more like amateur filmmaking than major Hollywood movie) in the Batcave. Batman quickly suits up (nipples!) and we find the new Batmobile coming up from the floor. Batman walks dramatically, theatrically to his mark, where he stands beside the Batmobile, a perfect stop for movie stills in magazines. Cut to: Alfred standing nearby, holding a tray of food. “Can I persuade you to take a sandwich with you, sir?” Batman replies, “I’ll get drive-thru.” That’s our introduction to Batman in this movie. His first line. “I’ll get drive-thru.” It’s not like they’d planned on using footage for McDonald’s commercials. Oh…
The Batmobile is horrible! It looks like…well…a toy car! The glowing lights in the wheels? And what is it with all the strange lights, anyway? Neon and projected lights and lasers everywhere!
Batman has two costumes. This is in line with the comic books, to a degree. Especially in the 1940s and 1950s. There is a prototype costume that Bruce Wayne wears after the Riddler has destroyed the Batcave and his costumes. It’s a bigger costume that’s supposed to have some extra features, though there don’t seem to be many. It makes Batman look bigger, and Val Kilmer look silly. At least it allows him a second suit-up (butt cheeks!), just in time for the final act of the movie, when he’s about to go get the bad guys.
Overall, the movie fails not because of the nipples or ass crack on the bat suit, not because of the bad acting, not even because of Schumacher’s overproduced, overly-theatrical ways. The movie fails because the emotional core of the movie is gone. The concern is more for action figures and merchandising than on telling a good story. Even Dick Grayson’s story, which should make us care, has no real emotion to it. He’s angry and wants revenge. Who are the Grayson’s? Why should we care?
On June 16th, 1995, opening night, I saw the movie with a friend. The 10 PM showing. I remember liking it more back then than I do now. Who knows why? I certainly don’t. But I liked it enough to watch it a few times after it came out on video. Still, I didn’t watch nearly as much as the two Burton movies, so that’s probably telling.
Anyway, Batman Forever did quite well at the box office. It was a no-brainer for Warner Bros. There would be a fourth Batman, and Joel Schumacher would direct. The possibilities were endless. What could possibly go wrong?
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.
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.
Here I am, peeking in just to say hi. Sadly, I broke the chain the other day, Thursday, September 4th. I was just too goddamn tired and depressed to really motivate myself to do the editing I needed to do. So between June 24th and September 3rd, I wrote every day, mostly on the novel. That makes a 72-day stretch. I’m very happy. I worked last night (Friday) and tonight so a new chain is forming.
If you’re following my From Gotham to Gautham Batman film essays, rest assured that they’ll come. I already have the next four essays written, and have gathered the pictures for the next installment, Batman Returns (1992), I just have to format them, place them, and revise the essay. I also have to re-watch Christopher Nolan’s Dark Knight Trilogy.
So keep watching this space. I’m running as fast as I can.