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Freaky Firsts Day 3: The Frighteners (1996)

Frighteners 1996Note: If you’re new to Reel to Reel, I’m more about dissecting and commenting on film than writing a straightforward review. As such, please be warned, the following is full of spoilers.

Director: Peter Jackson

Writer: Peter Jackson & Frank Walsh

Cast: Michael J. Fox, Trini Alvarado, Peter Dobson, John Astin, Jeffrey Combs, Dee Wallace, Jake Busey, Chi McBride, Jim Fyfe, Troy Evans, Julianna McCarthy, R. Lee Ermey, Elizabeth Hawthorne, Danny Elfman

Plot: Paranormal investigator Frank Bannister (Michael J. Fox) has a good racket going. His ghostly assistants Stuart (Jim Fyfe), Cyrus (Chi McBride) and the Judge (John Astin) “haunt” a house, and he goes in to “exterminate” them for a healthy fee. After the mysterious death of a recent client, Ray, (Peter Dobson), Frank learns of a rash of sudden deaths that appear to be heart attacks, but whose victims were in perfect health. Ray’s wife, Lucy (Trini Alvarado) turns to Frank for comfort, made a bit awkward by the fact that Ray’s ghost is right there. Frank witnesses a shrouded figure (a “Grim Reaper,” according to the Judge) murdering a man, whose spirit takes the light-filled corridor to the afterlife – a choice Ray and Frank’s ghosts failed to make when given the opportunity.

FBI agent Milton Dammers (Jeffrey Combs) is brought in to investigate Frank, now a suspect in the strange deaths. Dammers has suspected Frank for some time, ever since the mysterious death of Frank’s wife. She was found with the number 13 carved into her forehead – something that resonates with Frank, who saw 37 and 38 on the two most recent victims. When 39 is killed in the museum, Frank rushes in to investigate, and the Reaper cuts the Judge’s spirit in two. Frank tries to protect #40 – newspaper editor Magda (Elizabeth Hawthorne), but the Reaper gets her as well, and Frank is arrested.

Lucy’s investigation of the situation leads her to Patricia Bradley (Dee Wallace), who as a teenager was accused of being an accomplice of executed serial killer Johnny Charles Bartlett (Jake Busey). When she visits Frank in jail, “41” appears on Lucy’s forehead. Frank and the ghosts narrowly save her from the Reaper, but Stuart and Cyrus are “killed” as they escape. Frank believes he can stop the Reaper by killing himself, but Lucy instead places him in a hypothermic coma, freeing his spirit to roam. Dammers, meanwhile, abducts Lucy and takes her to a cemetery. Frank saves her from the Reaper, who turns out to be the ghost of Johnny Bartlett. He’s been collaborating with Patricia, trying to top the high scores of history’s worst serial killers.

Frank awakens and, with Lucy, finds Barlett’s ashes, hoping to use them in the hospital where he committed his murders to condemn his soul to Hell. Dammers is in the hospital too, still obsessed with Frank, and Patricia is running through the halls with a shotgun. She kills Dammers and chokes Frank to death. As the corridor to the afterlife appears, Frank rips Patricia’s soul from her body, and Bartlett chases the two of them. He and Patricia are taken to Hell as Cyrus and Stuart reappear to reunite Frank with his wife. It’s a brief reunion, though, as his friends tell him it’s not his time yet, and send him back to Earth and Lucy… who now can see the ghosts too.

Thoughts: Early in his career, Peter Jackson made gooey gorefests like Dead Alive. Today he’s known for the visual effects and epic scale of Lord of the Rings. This film, made in-between those two eras, actually serves very nicely as a bridge between them. The sensibility of the movie feels similar to his early work: funny, while still carrying a sense of the macabre, like Ghostbusters with a more cynical edge. However, here he’s beginning to step aside from the practical effects of his earlier films towards the more high-tech visuals of today. This was 1996, of course, before it was virtually a requirement that every element of a film be soaked in CGI, back when actors had to literally appear on a set together, and Jackson at this early stage actually strikes a very nice balance between the two.

The plot isn’t particularly original – the serial killer coming back as an agent of death has been done before, and since, and better, and worse. And in fact, I think the stuff with the numbers is even a bit of a cheat. If Bartlett cared numbers into victims’ foreheads when he was alive, it seems to me that people would remember that little tidbit. Frank clearly knows who Barlett is the moment he sees his face, but he didn’t know enough about his killings to know about the numbers? I call foul on that one.

That said, the execution of the story is good. Michael J. Fox isn’t quite the slick wisecracker he is in a lot of his performances. He’s wounded and somewhat cold, still struggling with his wife’s death and trying to keep Lucy at a distance despite his attraction to her. His snark is mostly kept to a minimum, and even though he’s technically a con man, he doesn’t put forth the air of a snake oil salesman one would usually associate with that kind of a role. It’s always fun to see John Astin, but it’s kind of a shame that – of the three main ghosts – he was almost completely hidden under makeup. Without his distinctive voice, it’s unlikely that anyone would have recognized him.

The final confrontation, more than any other part of the movie, really shows the filmmaker Peter Jackson was going to become. The fight in the Bradley house, with Barlett leaping through walls and paintings, has a lot of real style to it. It’s CGI, yes, and you know it’s CGI, but it’s not such blatant CGI that it rips you out of the movie, like a lot of movies come across today. Once the action moves to the hospital, the tension is ratcheted up less by the ghosts and more by the two still-living antagonists, who seem in some ways to be even more dangerous. Maybe it’s because he’s a ghost or maybe it’s because he’s Jake Busey, but somehow Barlett’s deranged behavior isn’t nearly as disturbing as that of Dammers or Patricia.

On the sliding scale of horror and comedy, this film definitely leans more heavily on the horror side than Ghostbusters, and even more than Jackson’s own Dead Alive (although it is considerably less grotesque than the earlier movie). The ghosts feel like they came from a less wacky version of Beetlejuice. Combs, meanwhile, is impossible to separate from his character in the Re-Animator series, hamming it up similarly while playing a very different role in this film than those others.

This is a movie that’s been on my “to-watch” list for a very long time, a product of my appreciation for Peter Jackson and my love for Michael J. Fox. This month, I suspect, is going to be great for scratching movies like that off my list. It didn’t disappoint me at all.

The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!

Scrooge Month Day 8: Bill Murray in SCROOGED (1988)

Scrooged 1988Director: Richard Donner

Writers: Mitch Glazer & Michael O’Donoghue, suggested by A Christmas Carol by Charles Dickens

Cast: Bill Murray, Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, David Johansen, Carol Kane, John Murray, Robert Mitchum, Alfre Woodard, Jamie Farr, Robert Goulet, Buddy Hackett, John Houseman, Lee Majors, Brian Doyle-Murray, Mary Lou Retton, Michael J. Pollard, Wendie Malick, Nicholas Phillips

Notes: This is one of the biggest departures from Dickens we’ve seen yet (and the biggest, I suspect, that we will see in this project, although other movies stray even further from the formula). Bill Murray plays Frank Cross, a disgruntled television network president who is planning a live production of Scrooge on Christmas Eve, loaded with stars like Buddy Hackett as Ebenezer Scrooge and Mary Lou Retton as Tiny Tim. But Frank has lived a rather Scrooge-like life himself, and the Ghosts of Past (Carol Kane), present (David Johansen) and Future are at work once more. We also get Bobcat Goldthwait splitting the Bob Cratchit role with Alfre Woodard (whose young son Calvin, unable to speak for some reason, is our Tiny Tim stand-in), Murray’s younger brother John playing a Fred-like part in the story, and Karen Allen filling in for Scrooge’s lost love Belle in a greatly expanded part than the character has had in any other version of the tale. John Forsythe plays Frank’s late boss, taking the Jacob Marley part.

Thoughts: This weird version of Dickens kicks off with Lee Majors leading an expedition into the North Pole to save Santa from a bunch of terrorists, which he accomplishes by arming the crap out of Santa, Mrs. Claus and all the Elves, all cast against a setting that could have fallen from Tim Burton’s brain. (It doesn’t hurt that we get a Danny Elfman score). It turns out to be one of several horrendous specials planned for the IBC network this year, all being shown to Frank Cross (Bill Murray). As we get to know Frank, we see quickly he’s not exactly Scrooge. Sure, he’s self-centered and greedy and completely lost touch with everything that matters in life – he’s so callous that when a woman has a heart attack and dies after seeing his Scrooge promo he considers it nothing but world-class publicity — but he’s still played by Bill Murray. Such a character cannot be without a sense of humor, and after yesterday’s bitingly joyless performance by George C. Scott, this is already a drastic improvement.

Forsythe’s Lew Hayward is the most gruesome apparition I’ve seen all month. Although he’s talkative and chipper, he looks like a zombie – and not a fresh one either. He’s dried up, desiccated, with rats crawling from a hole in his skull caused by the still-embedded golf ball that killed him. He fills his role neatly, but the sarcastic way Bill Murray deals with him deflates the character right up until Lew gets pissed and dangles him out the window to prove his point. It’s a shame that Murray didn’t have time to call his friends – he knows some people with ghost experience, after all.

Yet another thing that sets Frank Cross’s story apart from Ebenezer Scrooge is that he’s given a chance to return to his life after each ghostly encounter. His meeting with Lew Hayward puts him in touch with Claire Phillips – played to charming perfection by Karen Allen. Claire, it seems, is the one that got away, the love of Frank’s life, the girl who he left behind when he got big. Unlike Scrooge, Frank has a second chance – Claire is still single and she’s clearly happy to see him again. Of course, it wouldn’t be much of a movie if he didn’t come close to screwing it up all over again.

David Johansen is our Ghost of Christmas Past – here depicted as a rough New York cab driver whose taxi takes Frank back in time to relive childhood Christmases where his father (Brian Doyle-Murray) gave him meat and less distant years when things with Claire were pretty good… until they went bad. Johansen is a nice character – funny and sarcastic at the same time, even with his harsh edge. Despite that, though, despite heaping verbal (and even a little physical) abuse on Frank, you never lose your faith that his ultimate goal is for Frank’s ultimate good.

In Carol Kane, we get a Christmas Present that looks like a tooth fairy and has the clear-headedness of a toddler. She also has no problem with smacking Frank around when he needs it, which he frequently does. Her visits with Frank’s brother and Alfre Woodard’s family do more than the traditional Christmas Present visits, where Scrooge usually sees what he’s missing out on and begins to feel empathy for Tiny Tim. Here we also see how good everyone else is in comparison to him—Woodard goes behind Frank’s back and sends his brother a VCR for Christmas rather than the proscribed towel he’s handing out to everyone else. This is also where the movie takes a sharp turn into melancholy when we encounter a homeless man (Michael J. Pollard) Frank had earlier met at Claire’s soup kitchen, now frozen to death. It’s a perhaps the saddest moment in the film, and it gives Frank just the right blow to turn the chink forming in his armor into a full-on crack. It’s just such a sad, hopeless, pathetic sight you can’t help but be affected, and Murray’s enraged screaming at Pollard’s frozen corpse is the clearest indication yet he has a conscience in there somewhere. He may be yelling at Herman for being stupid, but he really hates himself for not doing anything to save the man when he had the chance.

The puppet they use for Christmas Future here is the scariest damn version of the character yet, making his first appearance on a wall of television monitors and reaching out of it for Murray just before Bobcat Goldthwait bursts in with his shotgun. (More on that shortly.) The future he shows Frank is even bleaker than Scrooge’s usual future. Claire isn’t just alone, she’s embraced Frank’s gospel of greed. The non-talking Calvin (Nicholas Phillips) isn’t dead, but he’s been committed to a sanitarium. Brother James comes off the best in the future – he and his wife (Wendie Malick) are the only two people who show up to watch Frank’s cremation, except for Frank himself… and he, naturally, winds up in the coffin.

Although Bobcat Goldthwait’s Eliot Loudermilk is filling the Bob Cratchit archetype, a Cratchit he’s not. He has good intentions, but after Frank fires him in the opening scenes of the movie, he goes nuts. He shows up later toting a shotgun, planning to get his revenge. Fortunately for him, Frank has been redeemed by that point and not only gives him his job back, but recruits him as his sidekick in the glorious finale, in which he takes over the studio at gunpoint and shows off his newly-discovered Christmas spirit to the world.

The finale, in fact, is why I love this movie so much. Not to say the rest of it isn’t entertaining, but if it weren’t for the ending, when Bill Murray stands in front of the cameras and expresses his joyful spirit to the whole world, even winning back Claire. The happiness and sincerity in that final sequence is maybe the most believable such redemption I’ve ever seen a Scrooge undergo. He shouts at the camera, he pleads with the audience for everybody to embrace the feeling that’s overtaking him, and Bill Murray sells every inch of it. And if you don’t laugh when he starts talking to the audience in the movie theater, compelling them to sing along, I don’t know if I want to know you. Scrooged may be the least Dickensian of the films we’ve watched, but it’s easily one of my favorites.

The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!

Batman Week Day 3: Michael Keaton in Batman (1989)

Batman 1989Director: Tim Burton

Writer: Sam Hamm & Warren Skaaren

Cast: Jack Nicholson, Michael Keaton, Kim Basinger, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, Jack Palance, Jerry Hall, Tracey Walter, William Hootkins

Plot: As a pair of muggers in Gotham City go through their loot, a black-clad figure wearing a bat symbol attacks, incapacitating them both in seconds. When one of the criminals begs for his life, the man in black tells him he wants a favor… he wants him to tell all his friends. When the crook asks who he is, he hisses in reply, “I’m Batman.”

Commissioner James Gordon (Pat Hingle) and District Attorney Harvey Dent (Billy Dee Williams) make a public pledge to take down crimelord Carl Grissom (Jack Palance), an announcement watched on TV by Grissom’s chief lieutenant, Jack Napier (Jack Nicholson). Jack has been having a fling with Grissom’s girlfriend Alicia (Jerry Hall), but is confidant Grissom has no idea what’s going on under his nose. Reporter Alexander Knox (Robert Wuhl) is approached by an award-winning photographer named Vicki Vale (Kim Basinger). As two of the only people in town who believe the Batman exists, they form a partnership to try to dig out the story. They attend a casino night hosted by Gotham’s richest son, Bruce Wayne (Michael Keaton), hoping to get the authorities on record about the Batman. Encountering Bruce, who comes across as somewhat absent-minded, leaving a bizarre impression before he is called away by his butler, Alfred (Michael Gough). While at the party, Gordon is given a tip that Napier is robbing a local chemical company. Bruce, now in a hidden cave beneath the mansion, listens to Gordon’s conversation as picked up by a hidden camera.

At Axis Chemicals, corrupt police Lieutenant Eckhardt (William Hootkins) prepares his men to take down Napier’s gang, giving orders to shoot to kill. Inside, Jack finds the safe empty and realizes they’re being set up. The cops and gangsters begin a shootout, but Gordon arrives and commands the police to take Napier alive. Batman rounds up the criminals and manages to grab Jack, but his chief goon Bob (Tracey Walter) threatens to kill Gordon if he doesn’t let him go. Although Batman tries to save him, Jack tumbles over a rail into a vat of chemicals, his face damaged in the battle.

The next evening, Vicki returns to Wayne Manor for a dinner with Bruce. It goes well, but she can’t help but notice that so much of the image of the playboy doesn’t fit as she begins to get to know him. Jack, meanwhile, has escaped the chemical bath, but not without damage. As he removes the bandages from his face, he smashes the mirror and stumbles away, giggling maniacally. He returns to Grissom’s home, confronting him over the double-cross. He reveals the extent of the damage – his skin bleached, his hair turned green, his mouth frozen in a permanent grin. Calling himself the Joker, Jack guns Grissom down.

Jack (wearing fleshtone makeup) meets with the rest of Gotham’s crimelords, announcing he’s taking over Grissom’s operation. One of them indicates an unwillingness to cooperate, so Jack offers a friendly handshake, roasting him with a supercharged joy buzzer. His power solidified, he instructs Bob to trail Knox and find out what he knows about the Batman.  Vicki leaves Wayne Manor the next morning, happy with Bruce and looking forward to seeing him again after he returns from a business trip. As she bids farewell to Alfred, though, he lets it slip that no such trip is forthcoming. She leaves, confused, and trails Bruce to a bad part of town, where she sees him lay a pair of roses on the ground in an alley.

That night, Gotham’s Action News reports on the deaths of two models who died after an extreme reaction to cosmetics leaving them with horrible grins on their faces. A bulletin announces three more similar deaths, when suddenly one of the anchors has an uncontrollable laughing fit and keels over. Suddenly, the Joker cuts into the feed, announcing his “Joker Brand” products – products that, chances are, everybody in town has already bought. Bruce studies Jack’s past, learning he has a background in chemistry, and he and Alfred go on a shopping trip. Gotham begins to struggle as everyone is terrified to use food, cosmetics, or anything that may contain the Joker’s “Smilex” chemical.

Vicki leaves a message for Bruce to tell him she’ll be late meeting him at the museum, but he has no date planned. It’s a trap by the Joker, who has become infatuated with her after seeing one of Bob’s surveillance photos of Knox. The Joker and his goons come in, smashing and defacing the exhibits. He approaches Vicki, proclaiming himself to be the “world’s first fully-functioning homicidal artist.” As proof, he has Bob bring in Alicia, whose face he has horribly scarred, and tells Vicki he wants her to record his “art” in photography. Batman rescues her, but the Joker’s thugs pursue him and nearly take him down. Just as Bob is about to remove his mask, Vicki snaps a picture, distracting them long enough for Batman to fight free. He brings Vicki back to the Batcave, where he tells her he’s cracked the “Joker Products” code – there’s no one single product that’s harmful, but certain combinations of products that are deadly. He gives her his research, instructs her to bring it to the press, and gasses her. When she wakes up, she’s safe at home, and realizes he took the film from her camera with the picture of his upturned mask.

As Gotham returns to normal, Alfred urges Bruce to tell Vicki the truth about his identity. He visits her apartment, intending to do just that, but they’re interrupted by the Joker, who tells her that Alicia tragically “threw herself out of the window.” Bruce reveals himself and threatens the Joker, who casually asks him if he’s ever “danced with the devil in the pale moonlight” before shooting him. He leaves Vicki alone, and she turns to find Bruce gone, a tray from her mantle lying on the floor with a bullet-sized dent.

Knox has researched the alley where Bruce left the roses and discovered his parents were murdered there before Bruce’s eyes when he was just a child. Bruce, meanwhile, is delving back into the case himself. The Joker’s “dance with the devil” taunt has dredged up memories, and he realizes Jack Napier is he nameless thug that murdered his parents. The battle is personal now, and becomes moreso when the Joker seizes Gotham’s airwaves again to announce he’s going to dump $20 million on the crowd for Gotham’s 200th anniversary celebration that night, challenging Batman to a confrontation.

Using the Batmobile via remote control, Batman destroys the Axis Chemical Plant, taking a number of the Joker’s goons with it, but the Joker remains at large, flying above in a helicopter. He retreats to the city, where he’s started a parade full of balloons and floats, hurling money into the crowd before gassing it with Smilex. In his Batwing jet, Batman cuts the gas-filled balloons loose. The Joker shoots the Batwing down with an improbably long-barreled gun, but Batman survives the crash. The Joker snares Vicki and leads her to the bell tower in Gotham City Cathedral where he awaits his helicopter. Batman and the Joker face off at the top of the Cathedral, where Batman vents his rage at Jack Napier for killing his parents. The three of them wind up dangling over the edge of the Cathedral, Joker dangling from a ladder to his helicopter. Batman snares him with a line, attaching him to a gargoyle broken from the cathedral. The added weight is too much, and the Joker plunges to his death. Soon afterwards, the police round up the Joker’s men and announce an alliance with the Batman, complete with a signal – an enormous spotlight that casts the emblem of the bat against the night sky. Vicki meets Alfred in a waiting limo… he apologizes for Bruce. He’s going to be a little late.

Thoughts: When Tim Burton’s Batman came out I was 12 years old, just at the perfect age to be heavily influenced by it. The prospect of Batman on the big screen was thrilling to me, and I was excited as I’d ever been to see a movie in my life. Looking back, my perspective has changed a little. While I never achieved the level of distaste I sometimes have for the Adam West incarnation, looking back on this film nearly 25 years later, I realize that it’s a good Tim Burton movie, but it isn’t really a great rendition of Batman.

You see, Tim Burton is a particularly distinctive filmmaker. He’s got lots of visual tricks, certain pacing techniques and other elements that all combine to make a movie distinctly his. This would be the first time he did a major adaptation of somebody else’s characters, but it sets the stage for his career in the future. Years later when he’d tackle Planet of the Apes, Alice in Wonderland, Charlie and the Chocolate Factory and the like, it would become clear he had his own sub-category of film… adaptations run through a Burton filter. Sometimes it works, sometimes it’s a disaster. This Burton-filtered Batman is a good movie, much darker and more serious than the movies we’ve discussed in this project so far, but still lacks certain elements that keep it from being great as a Batman film.

There is a lot of good here. This is the first film in the project to tackle Batman’s origin, for instance, and it does it in a very good way. Certain superhero origins are so well known that it’s become redundant to go over them yet again, and working it in as exposition rather than taking an hour to cover it works very much to this film’s advantage. It’s also the first time we’ve seen a Batman that isn’t a fully authorized officer of the law. The outlaw status works better for the character, even when he’s allied with the police.

I also really like Michael Keaton’s version of Bruce Wayne. There isn’t a lot of comedy in this movie, but Keaton (who previously worked with Burton in Beetlejuice) supplies most of it when he’s trying to maintain his absent-minded playboy image. There’s a sort of awkward sincerity to him, but he has a distinct competence right beneath the surface that makes it easy to accept him as Batman when the transformation begins. There was, I’m told, quite a controversy around casting Keaton (best known as a comedic actor) in the role, but he balances the humor with the depth of the character very well. The scene where he struggles to explain the truth of his double life to Vicki is just fantastic – very human, very charming, very honest.

Jack Nicholson also puts in a bravura performance as the Joker. He’s got some of the chaos of Cesar Romero, but unlike that earlier incarnation, he actually manages to apply some menace to it. Romero’s Joker was fun, but never scary. Nicholson’s Joker is both. There’s a great moment in the boardroom scene where it really starts to come through… not when he murders the unsuspecting Antoine, but a few seconds later when he orders Bob to trail Knox. Nicholson imitates a speech Palance gave to him just before sending him to his death, and although he’s not planning to have Bob killed, the result is downright disturbing. His cheerful chant that he’s glad Antoine is dead a few seconds later simply compounds it. While not the best Joker of all time (we’ll get to that), Nicholson is a great Joker.

The performances really are excellent. The elements that make it harder for me to accept this as a straight Batman movie and more of a Tim Burton movie come in plot, tone, and atmosphere. For example, the first moment where the “Burtonian” elements overtake the “Batmanian” is when the newly-christened Joker kills Carl Grissom. While not at all out of character for him, Burton uses a rousing carnival tune as the background music for the scene, something that stands in stark contrast to what we’re watching. It’s a very effective moment, something that encapsulates the madness of the character, but it’s also a very Burtonian trick, and the first point where we’re clearly seeing his fingerprints on the mythology.

From there, there are many other such moments that feel Burtonian. The more we see of Gotham City, the more it feels like the sort of world he’s conjured up for films like Edward Scissorhands – not exactly reality, but a strange sort of postcard that depicts a version of some stereotypical  world at Halloween. (In Scissorhands it was a Leave it to Beaver-style community, in this it’s a grungy cityscape.) Even the woods outside of Wayne Manor, where the Batmobile drives to reach the Batcave, are distinctive. Something about the bare, sparse trunks of the trees combined with the pounding Danny Elfman score (the #2 superhero theme of all time, after John Williams’s Superman) give an effect that reminds me more of Burton’s The Nightmare Before Christmas than any other film I can think of. The cathedral where the climactic battle takes place appears to be deserted, the wood rotting away and everything is ready to break for the sake of the fight scene. For sheer Burtonian symbolism, though, there’s no bigger moment than when the Batwing sweeps up in front of the full moon, forming a perfect Bat-Signal for absolutely no reason other than the rule of cool, before diving back down at the city.

Burton and the screenwriters introduce another element that happened in a lot of superhero films afterwards and, in fact, continues to this day: the idea that the hero’s origin has to be tied into the villain of the piece. From a purely thematic standpoint I understand it – it makes things much more personal for the characters and gives you a tighter narrative. From a larger perspective, though, I think it’s often a mistake. It requires either an uncomfortable level of coincidence or a ridiculous level of conspiracy that only a few movies have pulled off well.

Then there’s one thing that I’m never comfortable with in any incarnation of this character – a Batman who kills. His bombing of the Axis plant bothers the hell out of me… no matter how scummy the Joker’s goons were, they were still humans, and it’s hard to accept Batman killing them. The end of the film presents a similar problem, where Batman first opens fire upon the Joker with an array of bullets and missiles (all of which miss, but still), and then apparently drops the Joker to his death. Ironically, in the earliest comics Batman had no code against killing, and even used guns to cut down hoods on more than one occasion. The no-killing code has worked its way into most versions of the character, though, to the point where a Batman who kills feels wrong in any context.

I like this movie, I like it a lot actually. It’s just that being years removed from the childhood excitement of actually seeing Batman on the big screen, the various faults and flaws are a lot easier to pick out. None of them are enough to kill the movie for me, but shifting perspectives over the years have made me want something different out of Batman than what Burton gave us. Still, it was leaps and bounds ahead of the Adam West incarnation, and lightyears ahead of what was to come, when Burton stepped back from directing with the third film in the franchise and ushered in the disastrous Joel Schumacher years. Either way, though, the popularity of this movie helped to lead to the first screen version of Batman that I felt – and still feel – was truly, purely, and amazingly true to the character, and it’s that version we’re going to look at next.

The first Reel to Reel study, Mutants, Monsters and Madmen, is now available as a $2.99 eBook in the Amazon Kindle store and Smashwords.com bookstore. And you can find links to all of my novels, collections, and short stories, in their assorted print, eBook and audio forms, at the Now Available page!