When it comes to the history of Batman, there are years which mark watershed moments in the character's nearly 85 year history. Among them is 1989 when Tim Burton's eponymous film hit cinemas with Michael Keaton in the role and took the box-office by storm. Not to mention one noted for its "dark and serious" take on the character and Gotham City beyond. Almost 35 years after its release, does Batman '89 live up to its hype and legacy?
Yes and no.
Certainly the reputation for it being "dark and serious" feels increasingly misplaced with the passage of time. It's true that the film has a fair share of Gothic and even noir moments, to be sure, with Gotham being a mix of 1940s noir and grimy 1980s New York City. Yet from Jack Nicholson's Joker much of the time to a number of gags and even cues of Danny Elfman's score, there's moments when it borders on being over the top. It's a tonally odd film, something perhaps more obvious with the passage of time, something partly down Burton as a filmmaker which shows just how much of the film's reputation has been owed to 1989 audiences only major exposure being the Adam West TV series from two decades earlier.
Nor is Batman '89 without further faults. Perhaps owed to the casting of Nicholson as the Joker, this is a film seemingly more interested in its villain than its title character which is to the detriment of the film and Keaton as Batman (which is even more true of Burton's follow-up, Batman Returns). Kim Basinger's Vicky Vale, meanwhile, starts off well enough but once the film arrives at the scene in the museum with her and the Joker, she increasingly becomes a damsel in distress. Basinger does what she can with the material, but it eventually reduces her to nothing but screaming in the second half (and especially the climax). Speaking of the passage of the climax some of the model shots from the otherwise excellent Derek Meddings (of Thunderbirds and James Bond fame) have not aged well at all in the climax.
Yet when Batman '89 works, it soars. Particularly in the moments when it actually leans into the Gothic or noir, something that Keaton's Batman/Bruce Wayne wonderfully suits. Indeed, Keaton's performances are the strongest of the entire film, which makes it even more of a shame that he's sidelined in favor of Nicholson's Joker. Much of the atmosphere of the film is derived from its design and cinematography, creating a mix of eras that somehow feels natural to this world (and carried over into the acclaimed Batman: The Animated Series a few years later) that includes one of the great film cars of all time: the Batmobile, a piece of design and engineering that at once feels retro and futuristic even 35 years later. Adding to all of that is Danny Elfman's score with its iconic Batman Theme.
Despite its faults, , it's easy to understand why the film had both the effect and success that it had 35 years ago, from Keaton's Batman or that rightfully iconic design for the Batmobile. It might not quite live up to its "dark and serious" reputation, but Batman '89 was a stepping stone film and one whose influence can be felt on many of the comic book adaptations made since. For that it has a well-deserved place, even if it is neither the sum of its part or quite worthy of its legendary status in fan circles.
Yes and no.
Certainly the reputation for it being "dark and serious" feels increasingly misplaced with the passage of time. It's true that the film has a fair share of Gothic and even noir moments, to be sure, with Gotham being a mix of 1940s noir and grimy 1980s New York City. Yet from Jack Nicholson's Joker much of the time to a number of gags and even cues of Danny Elfman's score, there's moments when it borders on being over the top. It's a tonally odd film, something perhaps more obvious with the passage of time, something partly down Burton as a filmmaker which shows just how much of the film's reputation has been owed to 1989 audiences only major exposure being the Adam West TV series from two decades earlier.
Nor is Batman '89 without further faults. Perhaps owed to the casting of Nicholson as the Joker, this is a film seemingly more interested in its villain than its title character which is to the detriment of the film and Keaton as Batman (which is even more true of Burton's follow-up, Batman Returns). Kim Basinger's Vicky Vale, meanwhile, starts off well enough but once the film arrives at the scene in the museum with her and the Joker, she increasingly becomes a damsel in distress. Basinger does what she can with the material, but it eventually reduces her to nothing but screaming in the second half (and especially the climax). Speaking of the passage of the climax some of the model shots from the otherwise excellent Derek Meddings (of Thunderbirds and James Bond fame) have not aged well at all in the climax.
Yet when Batman '89 works, it soars. Particularly in the moments when it actually leans into the Gothic or noir, something that Keaton's Batman/Bruce Wayne wonderfully suits. Indeed, Keaton's performances are the strongest of the entire film, which makes it even more of a shame that he's sidelined in favor of Nicholson's Joker. Much of the atmosphere of the film is derived from its design and cinematography, creating a mix of eras that somehow feels natural to this world (and carried over into the acclaimed Batman: The Animated Series a few years later) that includes one of the great film cars of all time: the Batmobile, a piece of design and engineering that at once feels retro and futuristic even 35 years later. Adding to all of that is Danny Elfman's score with its iconic Batman Theme.
Despite its faults, , it's easy to understand why the film had both the effect and success that it had 35 years ago, from Keaton's Batman or that rightfully iconic design for the Batmobile. It might not quite live up to its "dark and serious" reputation, but Batman '89 was a stepping stone film and one whose influence can be felt on many of the comic book adaptations made since. For that it has a well-deserved place, even if it is neither the sum of its part or quite worthy of its legendary status in fan circles.