BATMAN
A film review by Bruce Oberg
Copyright 1989 Bruce Oberg
I think I made a mistake by rereading THE DARK KNIGHT RETURNS this week. While watching BATMAN, I kept being distracted by things that were missing. A few gaping plot holes, and an almost total lack of tension, mystery, or danger in the film keep me from being able to recommend it (not that I think there's anyone who hasn't already decided to see it eventually). It tries to be dark, but ends up just being dim, with too few ideas to flesh out the gadgets and confrontations.
Not that there isn't a lot to like in here. Jack Nicholson is spectacular as The Joker. He sparkles in every scene -- partly because he's given every good line in the script and partly because Jack is Jack. In the end this is really his movie, since we see more of how and why The Joker operates than we see of the Caped Crusader.
This is perhaps my biggest gripe with the film. We just don't learn enough about The Batman. Sure, they fill in (and take some liberties with) his history, but the extent of his skills and motivation are left relatively untouched. It's even more distracting given Writer Sam Hamm's and Director Tim Burton's pre-hype comments about "fleshing out his character" and "putting him at risk." Michael Keaton's Batman just doesn't hold my interest, and not because he's played poorly. The script just doesn't give him very many interesting things to say or do. Bruce Wayne, on the other hand, is done very well. When Keaton is allowed to move his head and show some expression, he's completely believable as a concerned and disturbed millionaire playboy. Combine this with a pleasantly subtle portrayal of Alfred by Michael Gough and just about every scene within Stately Wayne Manor rings true.
Another selling point is the impressive art direction by Anton Furst. I like his neo-gothic vision of Gotham City; it's big, dark, and oppressive, while never smacking of BLADE RUNNER. Besides, it goes well with the nice reworking of all the Bat-stuff. The Batcave, Batwing, and Batmobile and the rest of Batman's paraphernalia are appropriately black and slick; none of the blue and grey from the comics. Burton's direction is unobtrusive; a few interesting segues here and there, but nothing that grabbed me like some of the things in BEETLEJUICE. The orchestral score by Oingo Boingo's Danny Elfman was fittingly apocalyptic when it needed to be, and the songs by Prince were kept in the far background (shame too -- the few I heard on NPR were *hot*).
Commissioner Gordon and Harvey Dent are given scant attention, which would have been okay if the filmmakers hadn't tried to fill the space with two unsatisfying new characters: some newspaper reporter who's name I can't even remember and, of course, Kim Basinger as photojournalist Vicki Vale. I didn't buy Vale's relationship with Wayne/Batman for one second. For being the centerpiece for most of the movie's confrontations, her character's motives are never very clear. Also, the film too often slips into "Damsel in Distress" mode; ruining claims that she's a tough, independent reporter. Worst of all, the *key* scene between her and Batman is never shown.... All of a sudden, something is very different (you'll know what I mean). Ugh.
In most cases, a good villain makes a good thriller (e.g., DIRTY HARRY, TO LIVE AND DIE IN L.A.). However, BATMAN is not a thriller. It ties some so-so action sequences together with a nice look and an off-the-meter performance by Jack Nicholson. I might go back to see it again at a cheap matinee, but with all the dramatic potential that The Batman has, I'll probably stay disappointed.
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