by Back in the 80s, superheroes weren’t ubiquitous in cinema just yet. The beginning of the all-conquering comic book adaptation wave at the start of the millennium seemed unimaginable. While not the first major comic book film, Batman certainly contributed to the development. It was the starting point of a re-imagined genre often viewed as kids’ stuff, silly or even ridiculous. The world Tim Burton and his crew imagined and put on screen is far more than a plausible version of Gotham City with a plausible Batman in it.
Without question, it is a bold move to try and put the comic book Gotham City on screen rather than have one of the major American cities stand in for it. Art deco and neo gothic architecture, mixed with steaming gutters right out of TAXI DRIVER (1976), classic British cars and the latest junk out of Motor City. Social classes are clearly and effectively divided. You’re either up with those dressed in designer fashion that, just like Gotham’s architecture, seems to draw from the 30s. Or you’re down below with all that have been hit by economic downfall, wearing typical 80s fashion. Both architecture and topography are reminiscent of Fritz Lang’s classic METROPOLIS (1927), one of the many but subtly-executed stabs of social criticism by Tim Burton we’re given throughout the film. Nothing is referenced without purpose, and it would take more than one essay to capture and discuss this all.
Bruce Wayne (Michael Keaton) is the unofficial prince of Gotham. Head of one of the biggest enterprises in the world, he is part of the upper crust of Gotham. Whether he likes it or not. Calm and caring, he differs from other men of power. And this attitude isn’t changed when he puts on the mask and cape to become Batman. His opponent is Jack Napier, (Jack Nicholson) a character designed to balance Wayne. Whereas Wayne needs a disguise for the man, in Napier’s case, the man is the disguise. It isn’t thoroughly explained how Napier advanced from street thug to a man of a certain standing. What is emphasized though is his inherent lack of morale, sympathy or character. Even though at first Napier wants everyone to believe he was created as Joker, by Batman, despite the Dark Knights effort to save him from the fall into a chemical vat, the Joker, has always been there. The Joker invented Jack Napier, a play that is wonderfully executed when, after being permanently disfigured and thus unmasked, the Joker applies makeup to his white and red face to, at least remotely, resemble a human being.
Batman?, Batman?, Can somebody tell me what kind of a world we live in where a man dressed up as a bat gets all of my press?! This town needs an enema!
The Joker
Between the two men is more than just the conflict over Gotham City and who rules it. Vicki Vale (Kim Basinger) serves as love interest to Wayne and another trophy to be owned by the Joker. Apart from catchy headlines, her contribution to events, despite her ability to hold herself, is minor. Giving her more to do than investigative journalism and being rescued by Batman might’ve even strengthened the story. But Vale is involved in probably the best scene in the film. When she is tricked by the Joker to meet her at the museum, Jack Nicholson is at the height of his power. Playing music from a huge boombox, he wanders through the museum improving art by his standards. It is a madman at large, his ego gigantic. Enough to make him believe in his personal crusade against society, capitalism, decency. The Joker understands himself as messiah and gives us a lot to think about when he views Vale’s photographs liking shots of people killed in war the most. His attempt at disfiguring Vale with acid, just like he did to his partner, stresses his inarticulate desire for conformity. At the same time, it’s a complex hint at Hugo’s novel THE MAN WHO LAUGHS (1869), that served as inspiration for the Joker-character. Another of Burton’s hidden messages neither easily realized nor explained.
Admittedly, neither of the characters other than Batman and Joker leave an impression. Gordon (Pat Hugh), crucial in the comic books, might as well have been omitted from the picture. The same goes for Harvey Dent, portrayed, with style but no purpose by Billy Dee Williams. Or even Butler Alfred (Michael Gough). Gotham City is the only “character” that can steal the show with its magnificent style and display of creativity. It is no wonder this film set the tone for successful Batman-adaptations to come throughout the 90s, with BATMAN: THE ANIMATED SERIES (1992-95) doubtlessly being the most important. To present Batman as skilled, yet not overpowered but driven by his mission raises sympathy for him, even though one wonders why a man on a crusade to atone for his parents’ murder would kill without remorse. It is minor flaws and inconsistencies like that robbing BATMAN of its full effect. This contrasts the subtle subtext with all its implications and hints throughout the film, particularly the final battle over the crown of Gotham on top of the bell tower.
Without its flaws, BATMAN could’ve been one of the all-time classics outright. That said, it’s not a bad film and the fun isn’t spoiled. Maybe it would’ve been more effective using less social criticism and symbolism. What remains is a milestone for its brave depiction of comic book Gotham City, beautiful style and invention of an iconic representation of the Joker. Fans will view and enjoy it for years to come. And Burton made sure they’ll always have something new to discover and discuss at great length, thanks to its prior unachieved depth.
