Batman (1989)
“You ever dance with the devil in the pale moonlight?”
With Danny Elfman’s iconic theme in the background and the Batman motif slowly being unveiled, we cut to a wide shot of Gotham City and its cartoon like feel, the hustle and bustle of a busy city below and we’re immediately in a Tim Burton film and Burton’s very individual take on Batman. Over 3 decades on the effects may look a little dated compared to today’s standards, even the repertoire of “toys” so synonymous with Batman are a little dated too, but it remains a benchmark for others to follow and a triumph for the Director. On its release I loved this film for its closeness and homage in many ways to the TV series, for Michael Keaton as a superb and underrated Batman, for Tim Burton bringing Gotham City to life so brilliantly, and for Jack Nicholson! His portrayal of The Joker still resonates all these years later. It’s sublime, pitch perfect and as the character unravels, Nicholson balances the fine line between psychopathy and madness excellently.
As you may have read in my other film articles (quick plug — they’re all on here), Christopher Nolan’s re-boot of the franchise and his own very individual take on Batman with his trilogy is a favourite with me, and with fan boys. I considered doing a retrospective take on both Jokers (Nicholson and Heath Ledger) however I’ve covered Ledger’s incredible performance in my Christopher Nolan blog article, so have decided instead to focus on this original film’s three key players, “Batman” (Michael Keaton), “The Joker” (Jack Nicholson) and the Director himself, Tim Burton.
But first, a very short premise: After being disfigured in a chemical accident, Jack Napier returns as The Joker and quickly rises to become a homicidal, psychopathic underworld crime boss. Gotham City is in peril, and the call is made to The Dark Knight, Batman, to save the city from his evil clutches.
As described above, the very first scene of a dark and Gothic Gotham City is Tim Burton at his best. Richly stylised backdrops and sets bring Gotham City to life, however on re-watching this film it is perhaps the Director’s greatest feat here to take a more hands off approach in terms of constant stylization and allowing both the story and the characters themselves room to breathe and develop. The story is particularly well told, backed by Danny Elfman’s iconic and triumphant musical score and matched by a cast of actors playing iconic roles superbly. The nods and flourishes in the first two Acts are subtle and tasteful, pushing the story to it’s climatic third Act. The red roses placed at the scene of his parents death could have been played far more heavily and with more exposition, but a short flashback later more than suffices. The shoot out on the Gotham City Hall steps give a nod and indication to all, especially “Vicki Vale” (Kim Basinger) that Bruce Wayne may not be only the businessman he appears to be. But it’s the end of that short scene where the Director shines, bringing Bruce and The Joker together, The Joker waving as he departs in the car, Bruce’s bemusement and frustration aptly shown in the car’s reflection.
Smaller nod’s to the TV show (the red fire exhaust of the Bat Mobile) and a nod to the comic book Batman and his mastery of Kung Fu are added, but whereas this is fully explored in the Christopher Nolan trilogy, there is just a fleeting glimpse of that here. The Director’s influence is more evident as we approach the end of Act Two and throughout the final Act. The exhilarating drive back to the Bat Cave, winding through typical Burtonesque avenues of dark, overhanging trees to the Bat Cave itself is pure Tim Burton. As is the final Act and The Joker’s benevolent City Parade and party. Backed by original songs from Prince throughout and here especially, this adds to the majesty and the surreal nature of the climatic finale, and the inevitable final showdown between Batman and The Joker.
Sublime and surreal in equal measure.
“Batman” (Michael Keaton). Remains underrated as the caped crusader and perhaps even more so now Christian Bale excelled so brilliantly in the Christopher Nolan Batman trilogy. However, Keaton excels here too, infusing Bruce Wayne with a deliberate geek sensibility and a slightly bumbling and unsure of himself fool type role, perfectly designed of course to show the duality of all comic book heroes. Once they don their suit, they adopt a style and self assurance and invincibility of super heroes. The difference between the two persona’s is stark and very well played. A convincing Batman, the fight scenes are well choreographed and exciting for the audience, the dramatic entrances show Keaton in a good light, as do his frequent appearances as his alter ego Bruce Wayne.
Throughout the film it’s interesting to note that Bruce Wayne/Batman often only interact with one other character, dual scenes with Vicki Vale and his Butler “Alfred” (Michael Gough) and as Batman, with Vale again, and of course, The Joker. All dual scenes propel the story well and perhaps being the example that proves the rule, Keaton really shows his mettle in a short scene with a further character “Alexander Knox” (Robert Wuhl) and Vicki Vale, the two reporters snooping around his “trophy room” unaware of Keaton as Bruce Wayne slowly approaching behind them. A very short but telling scene.
“The Joker” (Jack Nicholson). Once again in a Batman film, The Joker steals the limelight! As with Heath Ledger in Christopher Nolan’s The Dark Knight, Jack Nicholson steals every scene he is in, punctuates every scene he is in with jokes and gags and literally bursts forth onto the screen. An immense performance from Nicholson who for thirty five minutes of the film is his alter ego, Jack Napier. However, no concentration necessary there, as it’s The Joker who dominates and steals the film. With his maniacal laugh and attire a direct nod to the TV series, Nicholson is sublime, delivering the trademark Joker punchlines brilliantly, from “Oh, I’ve got a live one here!” as he electrocutes a rival to death, “Never rub another man’s rhubarb!” after he believes he’s murdered Bruce Wayne to my personal favourite, “He stole my balloons!” during the climatic scene. There are many, many more, all delivered brilliantly by Nicholson and equally many more touches and subtle gags that round off the character and assure both the character and Nicholson, an Actor’s Hall of Fame position.
Noted by the Director himself as a film about a “Duel of the Freaks”, a large cast of supporting roles include Billy Dee Williams as “Harvey Dent”, Pat Hingle as “Commissioner Gordon”, Jerry Hall as “Alicia Hunt” and Jack Palance as “Carl Grissom” as the star stand outs not previously referenced and with two concurrent soundtracks from Danny Elfman and Prince complimenting Tim Burton’s surreal vision and direction, this 35 year old film remains a joy to watch time and time again. Director of Photography Roger Pratt deserves great credit as does Anton Furst’s Production Design as they both bring a cartoon like Gotham City to life brilliantly. Anton Furst, along with Peter Young deservedly won an Oscar in 1990 for their Art Direction/Set Decoration achievements.
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Thanks for reading. I hope this message in a bottle in The Matrix finds you well, prospering, and the right way up in an upside down world.