Tim Burton’s “Batman” (1989) was such a monumental pop culture event that it was easy for some to consider the film itself a loser.
Pop culture immersion aside, many critics did not accept Burton’s film or his interpretation of the character created by Bob Kane and Bill Finger. More specifically, they withstood a film with a predominance of marketing extravaganza during the summer season and became the most ubiquitous surprise hit of the year.
“Batman” arrived among the biggest summer movie seasons ever, but it was by no means a sure thing.
Unlike its competitors “Indiana Jones and the Last Crusade,” “Ghostbusters II,” “Lethal Weapon 2,” and “The Karate Kid, Part III,” among others, “Batman” arrived after months of hype leading up to its release. .
Not everything was favorable.
Reports that the film was “serious”, not an extension of the consciously silly “Batman” television series starring Adam West (which aired from 1966 to 1968) and which did not include West, was met with skepticism. At one point, the live-action “Batman” series, with its ubiquitous theme song and cheesy dialogue, was how most knew the character.
Other reports indicate that it would be Michael Keaton, possibly best known for “Beetlejuice” (1988) and “Mr. Mama” (1983), was a bigger blow. How dare they cast a comedy actor in the role of the psychologically wounded Bruce Wayne!
Hate mail and protests reached the doors of Warner Bros.
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By the time June 23 rolled around and the movie was released, there was already heavy circulation of the Topps gum series, the Prince soundtrack, a line of action figures, posters, shoelaces, and that legendary trailer (yeah , the rumors are true: pirated copies). (a portion sold for $100.00 at comic conventions).
Did the film live up to a tsunami of hype? More on that later.
Stay tuned, Batfans.
“Batman” begins with Danny Elfman’s overture, a beautiful, soaring but somber score that establishes the anguish at the center of the main character’s psyche.
We witness how violent crimes are increasing in Gotham City, as well as the frequent appearances of “The Bat”, who is striking fear into the rat-like criminals at the bottom of the food chain. Near the literal top of the city, dastardly crime boss Carl Grissom (Jack Palance) assigns his right-hand man and “number one guy” Jack Napier (Jack Nicholson) to raid Axis Chemicals.
Batman appears, interrupts the ensuing shootout, and fails to save Napier from being submerged in a vat of chemicals. Napier survives and reemerges as The Joker.
As Batman’s continued efforts bring balance to the city, acclaimed reporter Vicki Vale (Kim Basinger) discovers that Wayne, her new boyfriend, may have a connection to it all.
In the opening scenes, a strong feeling of melancholy and nostalgia runs through the images: the actors wear 1940s outfits and Anton Furst’s Oscar-winning art direction shapes Gotham City as an extension of the main setting of “Metropolis.” (1927) by Fritz Lang.
Burton’s feature film is film noir and could easily have been shot in black and white. In fact, if a black and white version were to appear (as, for example, black and white variants of “The Mist” and “Mad Mad: Fury Road have been released”), the eyes would require very little adjustment.
As shown here, Wayne is neither affable nor charismatic, but rather socially awkward, soft-spoken, somewhat sweet, and quite strange. Keaton pulled the plug on him, ready for anyone to play a truly tormented man.
Her performance was a surprise in ’89 and she still feels intelligent and in tune with the sad truths of the character. Keaton wisely never tries to make Wayne likable.
Nicholson’s performance was perhaps less surprising, as his role in “The Witches of Eastwick” (1987), for example, indicated that he would be perfect for The Joker. That’s the case, although there’s more to the performance than just maniacal laughter and bad jokes.
Napier is a career criminal, a mild-mannered lunatic with no moral compass. As The Joker, Nicholson retains the César Romero laugh from the series, but otherwise plays a cinematic cousin to Jack Torrance (another Jack!) from “The Shining” (1980).
The criticism that Nicholson went too far is ridiculous, since he’s playing the Joker. The most notable thing is how terrifying he is.
Nicholson’s performance and the film itself fall short of the kind of rusty horror of, say, Grant Morrison’s gorgeous, terrifying graphic novel, “Arkham Asylum: A Serious House on Serious Earth” (1989).
This isn’t an unbearable horror show, but, to give “Batman” the credit it deserves, Burton’s film embraces and matches the nihilism and character contrasts of Alan Moore and Brian Bolland’s wild 1988 graphic novel, “Batman: The Killing Joke.”
Following “The Dark Knight” (2008) and “The Dark Knight Rises” (2012), this series would further explore the notion of heroism and sanity (as well as surviving a deep dive into the camp).
All that came later.
In astute mirror casting, Palance plays the man Napier hopes to become. As Alfred the Butler, Michael Gough’s weary father figure was already a welcome presence (he’s the bright spot of 1997’s near-miss “Batman & Robin”).
Robert Wuhl, who plays unpleasant reporter Alexander Knox, gives the role what it needs, although he also provides evidence that he is a terrible reporter, which I’m not sure is intentional. The Joker’s assessment of Knox is one of my favorite Nicholson lines: “Who is that loss? Bad tie. Without style.”
Hugo Blick is unforgettable and truly terrifying in his only scene as young Napier.
Basinger is very good as Vale, although Sean Young (who had the role until he was recast early in filming) would have also been a good choice. She’s nervous enough to seem like a good choice for Wayne.
The actor who falls short is Billy Dee Williams, whose scenes as Harvey Dent are initially promising but feel unfinished, as if an important subplot has been kept to a minimum.
Another criticism: Why are the Joker’s henchmen all middle-aged thugs who have already been through their crimes and drive green and purple color-coded cars? It should be a lot easier for Commissioner Gordon to catch them.
One contrivance I can forgive is how Vale is escorted to the Batcave to confront Wayne; I believe it on an emotional level, as opposed to Napier’s dependence on a group of fools.
Burton’s epic comic book movie (which rescued the genre from a crisis that began around 1983 with the boring “Superman III”) is big, gothic and operatic. It’s also quirky and firmly a Burton film, giving the filmmaker an auteur identity early in his long career.
There are many impressive moments, such as Batman’s seemingly supernatural ascension into the mist. The museum “date” that the Joker has with Vale is a fascinating sequence. It starts out very fun and becomes unbearably dark until Batman arrives.
When I was a kid, there were few cinematic moments as exciting as when Batman saves Vale from that defaced art museum.
The final showdown between Batman and the Joker is gripping: witness the sick joy Batman has as he repeats a deadly catchphrase and then informs the Joker, “I’m going to kill you.”
There are surreal moments, like the Joker killing a rival in broad daylight using a poisoned pen and an army of mimes (!). The Joker TV ads are funny, until they become childish and sick, with the deadly implications of Smylex gas tempered only slightly by dark humor (the body count rivals any Stallone or Schwarzenegger movie).
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In addition to the money shots that were interspersed in the Batman – The Cereal commercial (I’m not kidding), “Batman” is also loaded with nightmare fuel. Napier’s escape from a vile session of plastic surgery, which literally electrified a rival to death, and, most devastating to witness, the poetic and gruesome murder of Wayne’s parents, still leave jaws agape today.
These bits, particularly the last one and the final reveal of Napier’s girlfriend, are among the scariest Burton has ever filmed.
In theaters and certainly on the thick videotape release (which arrived surprisingly four months later, a first for a major title), the film seemed too dark at times. Fortunately, it was subsequently cleaned and retains the mystery and dark atmosphere.
Finally we can see everything.
BATMAN (1989) premiered 35 years ago today! https://t.co/ZyTZg9IlNp
– PopHorror (@PopHorrorNews) June 23, 2024
A chilling easter egg that was pointed out to me recently: the eagle-eyed will notice that in Napier’s crime folder, which contains his current photos, there is a half-visible photo of young Napier that can be glimpsed. The film makes no bones about the connection between young Napier and young Wayne.
Nicholson is amazing in this and Keaton’s brooding, internalized performance provides the ideal contrast between character and acting styles.
“Batman” was a major pop culture phenomenon in 1989. The film emerged as the biggest hit of the year (nothing else came close), gave a boost to the comic book movie genre, and even inspired haircuts for tweens.
At times, it’s also a terrifyingly terrifying, deeply intense and even compassionate film about confronting the monsters that made us what we are.