Batman (1989) (4K Ultra HD + Blu-ray + Digital/Steelbook)

Nearly twenty-five years later, I still listen to composer Danny Elfman's brooding orchestral score. It conjures up an image of actor Michael Keaton's Batman standing victorious atop a Gotham City skyscraper, as the new Bat-signal cuts through the night fog. As soundtracks typically do, I was recently inspired to re-watch 1989's No. 1 summer blockbuster. It is easy to see why it blew past a slew of routine sequels such as "Indiana Jones and the Last Crusade;" "Ghostbusters II," "Lethal Weapon 2," "Licence to Kill," "Star Trek V," among other competition. It wasn't just the hype - sure, there was its mind-boggling marketing campaign (for its time) hawking every form of bat-merchandise imaginable (today, that's the norm). What really stoked moviegoers, I think, was its sheer originality - like lightning in a bottle that even its own three sequels couldn't re-capture.The movie's trademark, for better or worse, is Jack Nicholson's wily over-acting as the nefarious mobster Jack Napier turned macabre super-villain, the Joker. Although Nicholson was frankly far too old to be a legitimate physical threat to Batman, his sheer flamboyance overcomes this flaw. I still believe either Willem Dafoe or Ray Liotta (who was screenwriter Sam Hamm's preference) would have been just as effective in the role if the movie hadn't been designed as a Nicholson showcase. Even so, courtesy of a few well-designed flashbacks, director Tim Burton and screenwriter Sam Hamm cleverly side-step Batman's well-known origin by instead providing a mystery so viewers can deduce why a reclusive, strangely distracted billionaire has assumed a caped alter ego. The film opts not to show how Bruce Wayne becomes Batman since the psychological "why Bruce Wayne is Batman" factor proves far more interesting. Make no mistake: actor Michael Keaton doesn't look like Bruce Wayne, but, in this movie, he is Bruce Wayne ... a disturbed Bruce Wayne who walks, trance-like, through a hail of gunfire upon recognizing a face he once saw long ago. He is then left to ponder the Joker's favorite taunt to his doomed prey: "Have you ever danced with the devil in the pale moonlight?" Not surprisingly, the Joker's dance with a captive Vicky Vale (Kim Basinger) plays against the backdrop of a pale moon on a dark Gotham night setting up a final showdown between two comic book legends.Late production designer Anton Furst's dark art deco, 1940's vision of Gotham City brilliantly resurrects film noir. Impressively, even though "Batman" was filmed almost entirely on British soundstages, Furst's sets are amazing enough to make a viewer almost believe that Gotham City really does exist. There is no mistaking that, based upon the villains' retro wardrobe alone, that this Gotham City is supposed to be reminiscent of Prohibition-era Chicago (think "Batman Meets the Untouchables"). Wisely, the stellar "Batman: The Animated Series" subsequently lifted Furst's distinctive style giving Batman a new sense of visual continuity, as Gotham City appears as the dark, corrupt cesspool of a modern city it is supposed to be.If one can swallow a middle-aged Nicholson as the Joker and Keaton's quietly neurotic Bruce Wayne / Batman, then everything else about this movie falls into place. Yes, Kim Basinger's glamorous Vicky Vale is a Lois Lane wanna-be and a helpless damsel-in-distress where she must be startled at every turn (not remotely believable for a war zone-savvy photo-journalist). Still, Basinger's charismatic presence nicely balances the lead actors. My only criticism comes from the Joker's less-than-satisfying yet unique fate (one is left incredulously thinking: "That's the best they could do?"). It is similar to the predicament that "Star Trek Generations" had in 1994 with William Shatner's iconic Captain Kirk: there were countless better solutions available than the one filmed for the theatrical release. Please also note that not all the acting honors belong solely to Nicholson and Keaton. They receive ample support from the late Michael Gough (as Alfred); the late Pat Hingle (as Commissioner Gordon); and even Robert Wuhl's new character, wisecracking reporter Alexander Knox. Knox isn't necessary to the story, but Wuhl has solid chemistry with Basinger. Deleting Knox in favor of making wimpy Vicky Vale far stronger, as in closer to Selina "Catwoman" Kyle's equal, would have likely would have increased the movie's mass appeal for female viewers.As for the special effects, they mostly hold up well, particularly the awe-inspiring Batmobile and a surprisingly realistic rubber Batsuit. Even though the Batplane model's aerial shots look terribly fake today, it is pretty clear that all the FX money spent on this fifty-million dollar mega-production appears on-screen.Finally, with its original interpretation of the title character vs. one villain fighting for the soul of Gotham City, "Batman" 1989 is simply far superior to its three sequels that imitated but could not duplicate the first movie's success.Overall: 9/10 stars. Despite its weaknesses, this "Batman" is well worth repeat viewings. The DVD extras (including multiple documentaries and three Prince music videos) are superb, but I might add that the Prince videos are not appropriate for young viewers.

BATMAN (1989) is the one Tim Burton film where his directorial style worked in perfect synergy with mainstream Hollywood. Many of his other earlier films, including BEETLEJUICE (1988), EDWARD SCISSORHANDS (1993), ED WOOD (1994), and ironically BATMAN RETURNS (1992) are 100% TIM BURTON! They are all great in that Burtonesque way. While Burton's first Batman film BATMAN has obvious Burton touches: odd and disturbing characters, dark tone, neo-noirish look, the film still manages to be generally accessible to the mass audience. It moves at a fast, breezy pace and has an epic, Hollywood feel to it, with a satisfying conclusion. But that, in this case, is not a bad thing! I have re-watched this entertaining flick so many times it isn't funny! It just works. Can't say that for many of the superhero films in this new PC, uninspired generation of films.I actually saw BATMAN (1989) when it first came out in movie theatres and was blown away by it's originality and scope...still am. Even more so now since it holds up 20+ years later as great entertainment. In retrospect, Michael Keaton was the perfect choice to play the fractured, flawed antiheroic Bruce Wayne AKA Batman. But I always felt he was the right choice! Keaton captures the guarded loneliness of the Bruce Wayne character, while still being very convincing as a tough guy who can hold his own when donning the cape and cowl! Mr. Burton...you made the right choice!The other inspired (and perhaps more obvious) choice was casting the legendary Jack Nicholson as Jack Napier AKA The Joker. Nicholson is convincing as high-level "yes man" thug Napier who through a nasty accident becomes facially scarred and assumes the Joker persona. And Nicholson really looks like The Joker in this! He has so many memorable lines that I think about all the time. The hero-villain chemistry between he and Keaton is electric.Kim Basinger (at her most gorgeous!) admirably plays nosy photojournalist Vicki Vale, who arrives in Gotham City to unlock the secret of the mysterious Caped Crusader who has been "terrorizing" low level criminals throughout the city. She ends up falling in love with Bruce Wayne (lucky bastard!). Basinger is the weakest link of the main actors, but she still does a good job of emoting, being simultaneously fascinated and repulsed by Batman and Joker's antics. She screams a lot, but look at the freaks she's dealing with! Can you blame her?The solid supporting cast includes Michael Gough (wonderful turn as Alfred, Bruce's ever-so-reliable and dependable butler and caretaker), Robert Wuhl (in an energetic turn as Vicki's fellow reporter Alex Knox), Billy Dee Williams (as DA Harvey Dent), and Pat Hingle (as world-weary Police Commissioner Gordon). In particular, Keaton and Gough have an effortless chemistry as though they have been close their whole lives. Gough came back for Schumacher's cartoonish campy films and he had none of the chemistry with either Kilmer or Clooney that he had with Keaton in the Burton ones. It was weird watching Gough's Alfred interact with those tepid versions of Bruce Wayne.As previously stated, I am amazed at how Burton's style fused perfectly with more conventional Hollywood touches and created something special out of it. It could have been a monumental failure, but instead ended up being a template for all future superhero films.