| 1943 - 2005 62 Years On the Silver Screen |
Although Batman was originally unleashed upon the world in 1939 in the 27th issue of Detective Comics, Batman has
become more popular over the decades in motion than he has in print. Created by writer and comic artist Bob Kane,
Batman was an instant sensation among young readers, second only to Superman, who had been created just a year
earlier.
It wasn't long before Batman, like other comic heroes of the time, became a great mascot for war bond sales and
pro-American advertising during World War II. Like Superman, the Dark Knight became a household name across
America in the anti-fascist comics of the period.
Batman fascinated readers because of his complete lack of supernatural abilities. He relied on gadgets and physical
conditioning, much like a costumed James Bond. At the same time, Batman had a sinister edge, the death of his
parents, which motivated all of his crime fighting exploits.
To appeal to young readers, Batman was quickly provided with a sidekick, Robin, a young boy who fought crime
alongside the cowled hero. In doing this, the writers also toned Batman down quite a bit, getting into the comic side
more than the pulp side of his character. Where originally he carried a gun and killed people at times, now he was
against firearms and was more often seen smiling than scowling.
It was during this transitional period in the 1940s that Batman found the groove that would carry him through the
decades and define him as we know the character today. It was also the beginning of a long and successful
partnership between Batman and the silver screen, which would over the decades go through a series of incarnations.
become more popular over the decades in motion than he has in print. Created by writer and comic artist Bob Kane,
Batman was an instant sensation among young readers, second only to Superman, who had been created just a year
earlier.
It wasn't long before Batman, like other comic heroes of the time, became a great mascot for war bond sales and
pro-American advertising during World War II. Like Superman, the Dark Knight became a household name across
America in the anti-fascist comics of the period.
Batman fascinated readers because of his complete lack of supernatural abilities. He relied on gadgets and physical
conditioning, much like a costumed James Bond. At the same time, Batman had a sinister edge, the death of his
parents, which motivated all of his crime fighting exploits.
To appeal to young readers, Batman was quickly provided with a sidekick, Robin, a young boy who fought crime
alongside the cowled hero. In doing this, the writers also toned Batman down quite a bit, getting into the comic side
more than the pulp side of his character. Where originally he carried a gun and killed people at times, now he was
against firearms and was more often seen smiling than scowling.
It was during this transitional period in the 1940s that Batman found the groove that would carry him through the
decades and define him as we know the character today. It was also the beginning of a long and successful
partnership between Batman and the silver screen, which would over the decades go through a series of incarnations.
| The cover of Batman's first appearance, "Detective Comics" issue #27. |
| THE BAT FILMS |
| The Batman - 1943 Batman and Robin - 1949 Batman: The Movie - 1966 Batman - 1989 |
| Batman Returns - 1992 Batman: Mask of the Phantasm - 1993 Batman Forever - 1995 Batman and Robin - 1997 |
- THE COLUMBIA SERIALS -
The movie serial was the ultimate cliffhanger in the 1930s and 1940s and
Batman was a prime candidate for the low budget adventure quickies. Unlike
other characters, such as "Flash Gordon" and "Superman," Batman's lack of
super powers worked to the advantage of serial producers' meager budgets.
Batman and Robin first came to the silver screen in 1943 in the Columbia
Pictures serial, "The Batman." In it, Batman faced off against Dr. Daka, a
Japanese spy who had invented a ray that could turn men into helpless
zombies. Yeah, Daka had it going on.
In 1949, Columbia released the popular follow-up, "Batman and Robin," in
which the Dynamic Duo had to match wits with The Wizard, a malignant genius
who had invented an electronic device that could take control of any moving
vehicle within a 50 mile radius.
These serials didn't have the best acting, the best stories or the best sets, but
they certainly captured the essence of Batman with their charm, passion and
continual pursuit of excitement. These serials also made good attempts at
showing Batman's intellectual detective side, especially the second serial in
which Batman and Robin must discover the masked identity of their foe.
The movie serial was the ultimate cliffhanger in the 1930s and 1940s and
Batman was a prime candidate for the low budget adventure quickies. Unlike
other characters, such as "Flash Gordon" and "Superman," Batman's lack of
super powers worked to the advantage of serial producers' meager budgets.
Batman and Robin first came to the silver screen in 1943 in the Columbia
Pictures serial, "The Batman." In it, Batman faced off against Dr. Daka, a
Japanese spy who had invented a ray that could turn men into helpless
zombies. Yeah, Daka had it going on.
In 1949, Columbia released the popular follow-up, "Batman and Robin," in
which the Dynamic Duo had to match wits with The Wizard, a malignant genius
who had invented an electronic device that could take control of any moving
vehicle within a 50 mile radius.
These serials didn't have the best acting, the best stories or the best sets, but
they certainly captured the essence of Batman with their charm, passion and
continual pursuit of excitement. These serials also made good attempts at
showing Batman's intellectual detective side, especially the second serial in
which Batman and Robin must discover the masked identity of their foe.
LEFT: Batman fights off thugs in "Batman and Robin." ABOVE: Original advertising posters for the Batman serials.
- THE DEAD ZONE -
In the 1950s, the comic book industry took a moral beating from conservative America. Claims of
overt sexuality and homosexuality within comic books was running rampant and Batman in particular
took a severe thrashing by critics who said that Batman and Robin's pairing was an obvious reference
to homosexuality and pedophilia.
Superheroes fell from grace for a time, and while Batman weathered the storm alongside Superman
and Wonder Woman, his comic books became very science fiction oriented and like his counterparts,
he fell out of popular culture's front row for a few years.
With the advent of a successful Superman television show in the mid 1950s, superheroes starting
climbing out of the pit and back into children's lives.
In the 1950s, the comic book industry took a moral beating from conservative America. Claims of
overt sexuality and homosexuality within comic books was running rampant and Batman in particular
took a severe thrashing by critics who said that Batman and Robin's pairing was an obvious reference
to homosexuality and pedophilia.
Superheroes fell from grace for a time, and while Batman weathered the storm alongside Superman
and Wonder Woman, his comic books became very science fiction oriented and like his counterparts,
he fell out of popular culture's front row for a few years.
With the advent of a successful Superman television show in the mid 1950s, superheroes starting
climbing out of the pit and back into children's lives.
- BAT CAMP -
The swinging 1960s was a Technicolor dream era for television and with that
technological revolution came a slew of over-colored shows to promote color
television sales, including "Lost In Space" and "Star Trek." However, none gained
the tongue in cheek notoriety of "Batman."
The intention of the show wasn't to simply replicate the comic book, but to make
fun of it at the same time. Batman and Robin always spoke with over the top
conviction, often needlessly explaining things to one another as they so often did
in the comics.
The show was rife with the cheesiest elements of kids' comics, with Robin
exclaiming "Holy fill in the blank with anything you can think of Batman!"
constantly. As if that wasn't enough, even the onomatopoeia of "Bang!" and
"Pow!" and all other conceivable noises were thrown onto the screen at the
appropriate times in the midst of fist fights and explosions between our heroes
and their nemeses.
Put simply, it was the campiest show ever conceived and because it knew it was
being campy, audiences loved it. The villains were overblown, the heroes were
overblown and the colors were WAY overblown. The series' popularity soared
and it earned itself a feature film in 1966, simply titled "Batman: The Movie."
In the film, Batman and Robin must save the United Nations delegates, all of whom
have been atomically dehydrated by this ray gun acquired by The Penguin. Now
just bags of powder, the United Nations is impotent against the scourge of villainy
about to come down on the world, for The Joker, The Penguin, The Riddler AND
Catwoman have joined forces to destroy Batman.
This movie pulled out all the stops. With a sizable budget, it managed to
incorporate every Bat Vehicle in the arsenal, including the Batmobile, Bat
Chopper, Bat Cycle and the Bat Boat. The Penguin even got his own submarine
in this film! Yep, the 1960s was the glorious era of camp, Batman style!
The swinging 1960s was a Technicolor dream era for television and with that
technological revolution came a slew of over-colored shows to promote color
television sales, including "Lost In Space" and "Star Trek." However, none gained
the tongue in cheek notoriety of "Batman."
The intention of the show wasn't to simply replicate the comic book, but to make
fun of it at the same time. Batman and Robin always spoke with over the top
conviction, often needlessly explaining things to one another as they so often did
in the comics.
The show was rife with the cheesiest elements of kids' comics, with Robin
exclaiming "Holy fill in the blank with anything you can think of Batman!"
constantly. As if that wasn't enough, even the onomatopoeia of "Bang!" and
"Pow!" and all other conceivable noises were thrown onto the screen at the
appropriate times in the midst of fist fights and explosions between our heroes
and their nemeses.
Put simply, it was the campiest show ever conceived and because it knew it was
being campy, audiences loved it. The villains were overblown, the heroes were
overblown and the colors were WAY overblown. The series' popularity soared
and it earned itself a feature film in 1966, simply titled "Batman: The Movie."
In the film, Batman and Robin must save the United Nations delegates, all of whom
have been atomically dehydrated by this ray gun acquired by The Penguin. Now
just bags of powder, the United Nations is impotent against the scourge of villainy
about to come down on the world, for The Joker, The Penguin, The Riddler AND
Catwoman have joined forces to destroy Batman.
This movie pulled out all the stops. With a sizable budget, it managed to
incorporate every Bat Vehicle in the arsenal, including the Batmobile, Bat
Chopper, Bat Cycle and the Bat Boat. The Penguin even got his own submarine
in this film! Yep, the 1960s was the glorious era of camp, Batman style!
| ABOVE: "And they're off!" Adam West and Burt Ward as Batman and Robin, respectively. BELOW: Every major villain showed up to thwart the Dynamic Duo in "Batman: The Movie." |
- THE DARK KNIGHT RETURNS...FOR A WHILE ANYWAY -
By the 1970s, Warner Bros. Pictures had purchased DC Comics and had already
helmed the successful Superman film series starring Christopher Reeve. With
Batman's 50th Anniversary coming up and fan demand for a film high, Warner
Bros. gave the project to "Beetlejuice" director Tim Burton.
In a casting coup, Burton chose Michael Keaton to play the cowled superhero in
a move that everyone but Burton was uncertain of. Needless to say, Keaton
pulled it off in grand style, playing an interesting Bruce Wayne alongside the
brooding Batman.
Burton's take on the project was a return to Batman's darker roots. Jack
Nicholson starred opposite Keaton as Batman's most famous villain, The Joker,
and while the film rode over Batman's traditional origin story somewhat, the film
was a major box office success in the summer of 1989.
Burton would go on to direct "Batman Returns" in 1992 in which he chronicled the
very dark tale of Batman's battles with Catwoman and The Penguin, expertly
performed by Michelle Pfeiffer and Danny De Vito respectively. While critically
lashed, "Batman Returns" is an artistic marvel and a solid film.
In 1995, Burton gave up the director's chair to Joel Schumacher, who alongside
Batman creator Bob Kane, would begin the Batman film franchise's downward
spiral. Completely removing the darkness, Schumacher sought a return to the
campy Batman of the 1960s, and he achieved mediocre results with the 1995
"Batman Forever," in which Batman meets Robin and fights Two-Face and The
Riddler. In 1997, the Batman series tanked indefinitely with the mega-failure,
"Batman and Robin," in which homo-erotic overtones and a musical theatre feel
of neon and camp permeated Batman's confrontation with Mr. Freeze and Poison
Ivy. Warner Bros. moth-balled future Batman films.
By the 1970s, Warner Bros. Pictures had purchased DC Comics and had already
helmed the successful Superman film series starring Christopher Reeve. With
Batman's 50th Anniversary coming up and fan demand for a film high, Warner
Bros. gave the project to "Beetlejuice" director Tim Burton.
In a casting coup, Burton chose Michael Keaton to play the cowled superhero in
a move that everyone but Burton was uncertain of. Needless to say, Keaton
pulled it off in grand style, playing an interesting Bruce Wayne alongside the
brooding Batman.
Burton's take on the project was a return to Batman's darker roots. Jack
Nicholson starred opposite Keaton as Batman's most famous villain, The Joker,
and while the film rode over Batman's traditional origin story somewhat, the film
was a major box office success in the summer of 1989.
Burton would go on to direct "Batman Returns" in 1992 in which he chronicled the
very dark tale of Batman's battles with Catwoman and The Penguin, expertly
performed by Michelle Pfeiffer and Danny De Vito respectively. While critically
lashed, "Batman Returns" is an artistic marvel and a solid film.
In 1995, Burton gave up the director's chair to Joel Schumacher, who alongside
Batman creator Bob Kane, would begin the Batman film franchise's downward
spiral. Completely removing the darkness, Schumacher sought a return to the
campy Batman of the 1960s, and he achieved mediocre results with the 1995
"Batman Forever," in which Batman meets Robin and fights Two-Face and The
Riddler. In 1997, the Batman series tanked indefinitely with the mega-failure,
"Batman and Robin," in which homo-erotic overtones and a musical theatre feel
of neon and camp permeated Batman's confrontation with Mr. Freeze and Poison
Ivy. Warner Bros. moth-balled future Batman films.
| ABOVE: Michael Keaton as Batman and Kim Basinger as Vicki Vale in Tim Burton's 1989 film, "Batman." BELOW: Jack Nicholson plays a mean Joker in "Batman," though arguably not the truest representation of the character. |
- INKING A NEW DEAL -
During the early 1990s and coinciding with the popularity of Burton's Batman
films was the advent of arguably the greatest media adaptation of the Batman
character ever outside of comics, simply known as "Batman: The Animated
Series." The show ran for a number of years and focused on intelligent
detective stories that showed not only intellectual concerns, but also dealt with
serious emotional issues arising from relationships and being the victim of
crime.
The complex and twisted relationships between Batman and his villains was
also very closely explored and the show was so popular that in 1993, Warner.
Bros. released a feature-length animated film called, "Batman: Mask of the
Phantasm." In the movie, Batman races to stop a supernatural killer dubbed
"the Phantasm" as the villain moves to destroy a select group of people,
including The Joker. It's a complex and intelligent movie, easily the best
Batman film to date out of them all, showcasing the Joker's psychosis in ways
the Burton film only touched on and Bruce Wayne's romantic and social
dysfunction in his obsession with being Batman.
- BACK TO THE BAT FUTURE -
On June 17, 2005, Warner Bros. will release its sixth Batman film, the fifth
live-action venture with the character, titled "Batman Begins." The film deals
with the back story of Bruce Wayne's quest to become Batman and his intense
training in the remote mountains of Asia. When he returns to Gotham City, he
finds The Scarecrow wreaking havoc.
Directed by Christopher Nolan, the man behind "Memento," this film looks to
be a return to the darker roots of Batman once again and a positive
springboard for a new series.
During the early 1990s and coinciding with the popularity of Burton's Batman
films was the advent of arguably the greatest media adaptation of the Batman
character ever outside of comics, simply known as "Batman: The Animated
Series." The show ran for a number of years and focused on intelligent
detective stories that showed not only intellectual concerns, but also dealt with
serious emotional issues arising from relationships and being the victim of
crime.
The complex and twisted relationships between Batman and his villains was
also very closely explored and the show was so popular that in 1993, Warner.
Bros. released a feature-length animated film called, "Batman: Mask of the
Phantasm." In the movie, Batman races to stop a supernatural killer dubbed
"the Phantasm" as the villain moves to destroy a select group of people,
including The Joker. It's a complex and intelligent movie, easily the best
Batman film to date out of them all, showcasing the Joker's psychosis in ways
the Burton film only touched on and Bruce Wayne's romantic and social
dysfunction in his obsession with being Batman.
- BACK TO THE BAT FUTURE -
On June 17, 2005, Warner Bros. will release its sixth Batman film, the fifth
live-action venture with the character, titled "Batman Begins." The film deals
with the back story of Bruce Wayne's quest to become Batman and his intense
training in the remote mountains of Asia. When he returns to Gotham City, he
finds The Scarecrow wreaking havoc.
Directed by Christopher Nolan, the man behind "Memento," this film looks to
be a return to the darker roots of Batman once again and a positive
springboard for a new series.
| ABOVE: Michelle Pfeiffer as Catwoman from "Batman Returns." BELOW: Batman runs from the authorities as he hunts the mysterious villain, Phantasm, in the animated feature film, "Batman: Mask of the Phantasm." |
