One of the great iconic DC Comics superheroes, the Batman has been the subject of several motion pictures throughout his 70-year crimefighting career. Some of these films are more faithful to their source material than the others, and the 1989-97 movie series in particular has been subject to much criticism and controversy. But when viewed as a whole, one may find that the history of the Bat-film franchise closely mirrors that of the comic books in a number of interesting ways.
From the start, writer Bill Finger and artist Bob Kane always intended for the Batman to be a dreaded avenger of the night. In fact, their initial concept could perhaps be considered even darker than the Dark Knight of today. When he first stalked the shadows in 1939, the Batman was a ruthless vigilante who would often resort to lethal force in meting out his brand of justice. In his very first outing, The Case of the Chemical Syndicate (Detective Comics #27, May 1939), he throws a criminal off a rooftop and then later on sends another plummeting into a tank of acid. The second story in Batman #1 (Spring 1940) had him gunning down a group of monsters, quite contrary to the current Caped Crusader's abhorrence of killing in general and the use of firearms in particular.
This early incarnation of the character appears to be the basis for director Tim Burton's cinematic interpretation in 1989's Batman and its 1992 sequel Batman Returns. Much like in the original stories, this Batman starts out as an outlaw, hunted by the police just as he is feared by the criminal element. He thought nothing of dispatching his foes in brutal fashion, from blowing up a building full of bad guys in the first film, to setting a crook on fire with the Batmobile's flaming exhaust in the second. Speaking of which, the machineguns mounted on the Batmobile and the missiles that arm the Batwing indicate that this is one Masked Manhunter who believes in the right to bear arms. Aside from the character himself, the ambiance of the Burton films also stay true to the comic's 1930's roots by evoking some of the mood of the film noir and gangster movies of the time, although the Batman movies themselves are placed in a contemporary setting.
The introduction of sidekick Robin the Boy Wonder in Detective Comics #38 (April 1940) marked a new direction for the series. The Dark Knight was lightened up a shade, eschewing much of the grimness of the earlier stories in favor of daring action-adventure yarns much more accessible to their growing audience of youngsters. Batman would no longer go around killing his enemies nor would he be seen carrying a gun. It was also around this time that his colorful rogues gallery of villains was being introduced, which included such larcenous luminaries as The Penguin, Catwoman, The Riddler, Two-Face, and of course, the Clown Prince of Crime himself, The Joker.
Likewise, the arrival of Robin in the 1995 film Batman Forever also signaled a change in the Batman movie franchise, such as a change in director in the person of Joel Schumacher. The presence of former director Burton as producer ensured that at least some hint of the previous films' darkness is retained, but Schumacher's vision of Gotham City is definitely several shades lighter and brighter than his predecessor's. With Joker, Catwoman and Penguin over and done with in the first two installments, the third chapter had the Still-Kind-Of-Dark-But-Somewhat-Lighter Knight and his new Teen Wonder double-teaming against Two-Face and the Riddler.
As the popularity of comics dwindled in the 1950's, the Batman creative team came up with whatever gimmick they can think of to boost sales. Batwoman first made the scene in Detective Comics #233 (July 1956), after which new members would soon be added into the ever-expanding Batman family such as Bat-Girl, Bat-Miite, Bat-Hound and, yes, there was even a Bat-Ape. As for the stories themselves, they became increasingly bizarre. From fighting crime in the streets of Gotham City, the Dynamic Duo (and their extended family) suddenly found themselves in silly sci-fi situations; fending off alien invaders one moment, travelling through time the next. By the 1960's, the Caped Crusader enjoyed renewed fame and a place in pop culture thanks to the 1966-68 live-action television series. However, the show's comedic tone and bufoonish take on the character was too much for the more-discriminating hardcore Bat-fan to take.
In comparison, it was the success of Batman Forever that prompted the production of the 1997 sequel Batman and Robin. The title is somewhat misleading as this installment inducts Batgirl into their crimefighting ranks. The villains of the piece this time out are Mr. Freeze, Bane and Poison Ivy, much more flamboyant and special-effects-worthy than the scarred psychopaths of the first two movies. And while those earlier films re-emphasized the dark in the Dark Knight, the fourth installment in the series re-inserted the campiness of the '60's TV show in all its garish glory. Whatever trace of darkness left in Gotham had been flushed out, making way for a neon-lit playground for Hollywood stars in kinky costumes to run around in. All flash with little substance, comic fans and general audiences alike were unimpressed. The curtain would fall on the Batman, and it would be about eight years before he came out of the shadows and into the cinemas once more.
Batman circa 1939-40/Tim Burton's Batman Films (1989-92)
From the start, writer Bill Finger and artist Bob Kane always intended for the Batman to be a dreaded avenger of the night. In fact, their initial concept could perhaps be considered even darker than the Dark Knight of today. When he first stalked the shadows in 1939, the Batman was a ruthless vigilante who would often resort to lethal force in meting out his brand of justice. In his very first outing, The Case of the Chemical Syndicate (Detective Comics #27, May 1939), he throws a criminal off a rooftop and then later on sends another plummeting into a tank of acid. The second story in Batman #1 (Spring 1940) had him gunning down a group of monsters, quite contrary to the current Caped Crusader's abhorrence of killing in general and the use of firearms in particular.
This early incarnation of the character appears to be the basis for director Tim Burton's cinematic interpretation in 1989's Batman and its 1992 sequel Batman Returns. Much like in the original stories, this Batman starts out as an outlaw, hunted by the police just as he is feared by the criminal element. He thought nothing of dispatching his foes in brutal fashion, from blowing up a building full of bad guys in the first film, to setting a crook on fire with the Batmobile's flaming exhaust in the second. Speaking of which, the machineguns mounted on the Batmobile and the missiles that arm the Batwing indicate that this is one Masked Manhunter who believes in the right to bear arms. Aside from the character himself, the ambiance of the Burton films also stay true to the comic's 1930's roots by evoking some of the mood of the film noir and gangster movies of the time, although the Batman movies themselves are placed in a contemporary setting.
Batman circa 1940's/Batman Forever (1995)
The introduction of sidekick Robin the Boy Wonder in Detective Comics #38 (April 1940) marked a new direction for the series. The Dark Knight was lightened up a shade, eschewing much of the grimness of the earlier stories in favor of daring action-adventure yarns much more accessible to their growing audience of youngsters. Batman would no longer go around killing his enemies nor would he be seen carrying a gun. It was also around this time that his colorful rogues gallery of villains was being introduced, which included such larcenous luminaries as The Penguin, Catwoman, The Riddler, Two-Face, and of course, the Clown Prince of Crime himself, The Joker.
Likewise, the arrival of Robin in the 1995 film Batman Forever also signaled a change in the Batman movie franchise, such as a change in director in the person of Joel Schumacher. The presence of former director Burton as producer ensured that at least some hint of the previous films' darkness is retained, but Schumacher's vision of Gotham City is definitely several shades lighter and brighter than his predecessor's. With Joker, Catwoman and Penguin over and done with in the first two installments, the third chapter had the Still-Kind-Of-Dark-But-Somewhat-Lighter Knight and his new Teen Wonder double-teaming against Two-Face and the Riddler.
Batman circa 1950's-60's/Batman and Robin (1997)
As the popularity of comics dwindled in the 1950's, the Batman creative team came up with whatever gimmick they can think of to boost sales. Batwoman first made the scene in Detective Comics #233 (July 1956), after which new members would soon be added into the ever-expanding Batman family such as Bat-Girl, Bat-Miite, Bat-Hound and, yes, there was even a Bat-Ape. As for the stories themselves, they became increasingly bizarre. From fighting crime in the streets of Gotham City, the Dynamic Duo (and their extended family) suddenly found themselves in silly sci-fi situations; fending off alien invaders one moment, travelling through time the next. By the 1960's, the Caped Crusader enjoyed renewed fame and a place in pop culture thanks to the 1966-68 live-action television series. However, the show's comedic tone and bufoonish take on the character was too much for the more-discriminating hardcore Bat-fan to take.
In comparison, it was the success of Batman Forever that prompted the production of the 1997 sequel Batman and Robin. The title is somewhat misleading as this installment inducts Batgirl into their crimefighting ranks. The villains of the piece this time out are Mr. Freeze, Bane and Poison Ivy, much more flamboyant and special-effects-worthy than the scarred psychopaths of the first two movies. And while those earlier films re-emphasized the dark in the Dark Knight, the fourth installment in the series re-inserted the campiness of the '60's TV show in all its garish glory. Whatever trace of darkness left in Gotham had been flushed out, making way for a neon-lit playground for Hollywood stars in kinky costumes to run around in. All flash with little substance, comic fans and general audiences alike were unimpressed. The curtain would fall on the Batman, and it would be about eight years before he came out of the shadows and into the cinemas once more.
Comments