Batman: Three Eras

How is an era defined in a movie series? Is it defined by actor, such as the case for James Bond? Or is it by director, as fits with Harry Potter? Or does it gain definition by character set, as is the case with the Star Trek and Star Wars serials? Possibly, can it be story-defined, as is the case with Die Hard or Indiana Jones? Or does the tenor, or the general meaning, sense, or content of the film or films define an era? The vague answer is it is defined by all of these and in order to study how to define an era, we’ll turn to the cape-crusader, Batman, and his alter-ego, Bruce Wayne, who will both teach us the way. For the Batman series there are three eras and we’ll call them Burton, Shumacher and Nolan, after their directors. There are six films in all: Batman, Batman Returns, Batman Forever, Batman and Robin, Batman Begins, and The Dark Knight. Each tell of the adventures of the Superhero Batman and the personal exploits of his alter-ego, Bruce Wayne. The two personas are portrayed by four separate actors: Michael Keaton, Val Kilmer, George Clooney and Christian Bale. There are two incarnations of villains The Joker (Jack Nicholson and Heath Ledger) and Two-Face Harvey Dent (Tommy Lee Jones and Aaron Eckhart). There are two incarnations of Alfred the Butler (Michael Gough and Michael Caine.) With twelve different opponents, five different romantic interests and two (possibly three) hero accomplices, the series is full of colorful characters to paint the canvas that makes up the tenor of the series and define the distinctions of each era. The Tim Burton Era includes Batman and Batman Returns. For Burton’s Batman, portrayed by Michael Keaton, the portrayal is somber, brooding and focused, as a film noir hero is supposed to embody. Defined, film noir is a style or genre of cinematographic film marked by the mood of pessimism, fatalism and menace. The term was originally applied to American thriller or detective films made in the period 1944-54. As a result for the tenor of pessimism, fatalism and menace the photography is starkly contrasted by hard edges, cold colors and neutral sets. A general feel of bleakness, emotionally and physically, saturates the package, dragging the audience down with it. Usually the conclusion, in a film noir, ends without hope. But here, that’s not the case; our man is a Superhero, after all. The costume for Burton’s Batman is hard edged and fierce and his Bat-Mobile compliments its driver completely. The Joker, Penguin and Cat-Woman all are portrayed in the vein of Gloria Swanson from Sunset Boulevard, over-dramatic to the max. Even the music has all the drama, darkness, and contrast of a noir film, the brilliance of the power and majestic sadness that fills in Danny Elfman’s score which is the soul for the film’s emotions. This mysterious and haunted sound that fills Wayne’s dark past and expresses the sorrow left by his parent’s death, underscores the battle for right in Gotham City. Batman Returns features, in spades, another staple of film noir: corrupt business and politics and the extremes used to win, including killing off the competition. It also contains a final staple, the femme fatale, an attractive and seductive woman who can bring disaster to a man who becomes involved with her. In Batman Returns’ case Selena Kyle aka Catwoman, portrayed by Michelle Pfiffer with absolute finesse. But there’s also time the face the strangeness that embodies a Tim Burton Film: his use of vibrant color against the dark backdrop reminds us we’re involved in a superhero film based on a comic book. Also, Burton’s grotesqueness and dark humor, is ever present. This is especially notable in the designs surrounding everything to do with the Joker (from his costume to the parade floats and balloons) and The Penguin (notably his penguin underground and the Duck Boat/Car.) It’s these things which distinguish the Burton Era against the other two others. And so, to the Schumacher era when the noir, old detective story feel and harsh lighting give way to a more stage theatrical feel with brilliant colors, rock-concert lighting, animated costumes, fog machines and incidental music reminding us in a not-so-sublte way that, yes we are watching a comic book movie. Also, with the grandeur of the presentation of Gotham with its statuesque architecture and vast scope of setting. And I’m reminded of the film version of Repo! The Genetic Opera now that I’ve been reminded of the cartoon nature of this era of the Batman Series and sometimes I expect a musical number to pop up and somebody start singing about something. This era includes Batman Forever and Batman and Robin, directed both by Joel Schumacher. The performances, too, are extremely theatrical, from Jim Carrey’s Balistic Riddler and Tommy Lee Jones’ moody Two Face to Val Kilmer’s brooding Bruce Wayne, Nicole Kidman’s Smoky Chase Meridan and Chris O’Donnell’s Arrogant, Hot Headed Richard Grayson aka Robin. The costumes are color specific, as if to remind us who we’re looking at, regardless of what stage of development their character’s are at. This continues more so in Batman and Robin with the color schemes for Uma Thurman’s Poison Ivy and Arnold Schwarzenegger’s Mr. Freeze. The two stories are even written theatrically, one with the birth of a partnership and the other love rivalry over a dangerous woman, feels like The Scarlet Pimpernel or Phantom of the Opera. And of course, with a new era, a new face…or two. Val Kilmer brings a new performace energy; but he doesn’t stay long. Taking up residence in the Bat Cave for the second installment is George Clooney who brings another. So, while the production design matches between the two, the head of the cast adds a schizoid performance as one is better at one aspect of the Batman/Bruce Wayne dynamic and the other takes the cake on the opposing dynamic. But, Kilmer and Clooney do have similar acting styles, they both display a confidence and a wisdom that Batman and his alter ego need, so they do fit in this era very well and add to the theatrical nature that characterizes it. From the opening strains of Hans Zimmer and James Newton Howard’s dualistic score to the locations, costumes, effects and performances, Christopher Nolan commands a beautiful, deep and thought-provoking version of the backstory and continuing saga of Batman and Bruce Wayne and their rise as the protectors of Gotham City. The single word, to which I’d describe the Nolan Era, is polished. These two films are brimming with acclaimed performers and film craftsman who each put the full measure of feeling, preparation, tension and character into their work. The late Heath Ledger engaged his portrayal of The Joker with such fullness into the depravity of the character, I can only describe the experience as chilling. It always brings a swarm of goosebumps to my arms and neck every time I see it. The realism the Nolan films offer, with the Bat Mobile being less fantastical and more practical; as well, the operation of Batman’s lair being underground in all ways possible, akin to the clandestine units in ABC’s Alias, especially the rail-yard location in The Dark Knight. Even the realistic hallucinations projected by Cillian Murphy’s Scarecrow are more visceral and realistic than fantastic, extending their projections off of what the person affected is looking at. The coloring has nothing at all to remind us we’re watching a film based on DC’s comic series; well, almost nothing. The Scarecrow’s Hood is a burlap sack, like the comic, and The Joker’s purple suit, hairstyle and makeup job is something akin to what is seen in the comics, but more visceral, subtle and very much not cartoony, a contrast to the stark color design of Burton’s Joker. And Nolan’s Two-Face Harvey Dent is a surgical creation, not a theatrical one. The only clearly comic book homage is Batman’s suit, but even Nolans is less flashy than Schumacher’s, but smoother than Burton’s cardboard design; utilitarian, but stylish. Nolan’s Batman Begins and The Dark Knight are well-researched and comprehensively studied. The cast is well balanced with a well-coordinated combination of performers who are each distinctive and acclaimed individually; their presence fills the screen and each scene with class, helping define these two pictures above most superhero films making The Nolan Era magnificent. So in all, how does a critical viewer define an era? Is it by the cast, the score, the photography or the mechanics? Or perhaps it’s by who’s at the helm? Well, I’d say no to all of that. Those things are tools which help define it. A critical viewer will define the era by the package: the complete picture, story and performance and the way it makes an audience feel. **** Coming Soon: Batman: The Opposition