BATMAN AND ROBIN
A film review by Michael Redman
Copyright 1997 Michael Redman
** (out of ****)
(Note: Beginning in my single digit years, I grew up with Batman in the comic book form. I survived the goofy Batman of the late fifties and early sixties and the "pop"ular Batman of the mid-sixties, cringed in embarrassment at the "Pow! Zap!" Batman of the television series and finally found _my_ version in the grim dark night avenger which reprised the original version of the character. Having a well-defined Batman in my imagination for decades definitely colors my view of the cinematic Batmans. You've been warned.)
The film version of Batman has never been done right and they are getting worse over the years. As the series of films continue, the tone of the movies appears to draw more from the television series of 30 years ago than from the comic book. Obviously the slam-bang antics we see on the screen draw in more thrill-seekers than would the deadly serious vigilante.
George "I'm not a doctor, but I play one on TV" Clooney is the latest in the never-ending series of actors to slip on the cowl and he's really not too bad at filling in the rubber suit. He looks good: much better than Michael Keaton who was surprisingly adequate himself and equal to Val Kilmer. Of course, with the acting skills called upon by the role, just about anyone could fit the role as long as he possessed the required strong jaw.
One of the many problems with this film is that we now have a kinder and gentler Batman. Rather than the shadowy brooding character that supposedly populated the first three films, our hero here is a wise-cracking Father Knows Best. Not the best persona for a champion who chose the bat as a symbol to "strike fear into the hearts of criminals".
Chris O'Donnell returns as Robin and is the most successful at creating a three-dimensional human being. While he began his Boy Wonder career in the last film with unsure footing, by the middle of this one he has a secure sense of the sidekick.
The Batman mythos has an enormous stable of colorful and dangerous arch-foes. It's easy to understand the filmmakers' (in this case Joe Schumacher) temptation to showcase them. After all, with the way they have chosen to present Batman, the bad guys are much more interesting. Thus we come to another failing with the films. There are so many new characters and sub-plots introduced that by the time all that happens, there isn't much space for a movie.
Here we have Mr. Freeze, Poison Ivy, Bane, Batgirl as new characters. Toss into the mix Alfred's deadly illness, Freeze's attempts to resurrect his cryogenically preserved beloved wife, Ivy's ecologist-gone-wrong crusade, Batgirl's leaving school and closet biker babe life, Batman and Robin's bickering and half a dozen other story elements and you get a film that is held together with a shoestring.
It's traditional to attract big names to play the Bat villains and this movie is no exception. Arnold Schwarzenegger is a stand-out as the frigid Mr. Freeze. With his blue flecked skin and bald head and booming voice, Ahnold fits the role to a T.
Uma Thurman is less triumphant as Poison Ivy, the plant and snake venom temptress with the deadly kiss. Thurman can be seductive and that is what the role calls for, but all we get is cartoon allure. On the bright side, she does have the best lines in the film, puns that they are.
The less said about Bane (Jeep Swenson), the better. In the comics, Bane was presented as Batman's superior in strength and intelligence and the only enemy to ever best the hero, breaking his back and putting him into retirement for a year. Here he is a grunting chauffeur on steroids. Even the animated version had more depth.
Alicia Silverstone as Batgirl is a throwaway character. Alfred's niece who comes to stay in Wayne manor discovers the truth about the happenings in the caves below and overnight becomes a super heroine. Silverstone comes off as nothing more than a chubby spoiled high school girl who always gets her own way. Oddly enough in the suiting-up scenes with the traditional Bat close-ups on the chest, crotch and buttocks, it is apparent that Batgirl's black suit isn't quite as anatomically correct as are the men's. In the topsy-turvy world of Batman, men have nipples and women don't.
As usual, the visuals are dynamic. Mr. Freeze's cold gun spreading ice throughout Gotham is a highlight. The real star of the film continues to be Gotham City itself. The architecture is spectacular. A city that could exist only in Art Deco nightmares. The observatory held aloft in the arms of an enormous statue is remarkable.
(Footnote: The direction that the Batman films have taken is probably unstoppable. I'll never see _my_ Batman in the silver screen. In my mind a younger Clint Eastwood is Bruce Wayne. It's not too late: the current Eastwood would be perfect in a cinematic version of Frank Miller's classic "The Dark Knight Returns". Only in my dreams.)
[This appeared in the 6/26/97 "Bloomington Voice", Bloomington, Indiana. Michael Redman can be reached at mredman@bvoice.com ] -- mailto:mredman@bvoice.com
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