Unlike Superman: The Movie and, indeed, the vast majority of other superhero films that have followed it in the years since, Batman doesn’t dwell on the origins of how its title character came to be, film fans would have to wait another 16 years for Christopher Nolan’s Batman Begins to explore that side of the Dark Knight. Only a brief flashback to the murder of Thomas and Martha Wayne at the hands of – somewhat controversially for many fans – Jack Napier rather than Joe Chill, and Vicki Vale’s subsequent discovery of that tragic event gives any indication of Batman’s motivations. Instead, the film concentrates more on the creation of Batman’s greatest nemesis – at the vigilante’s own hand, no less – and the symbiotic relationship between the pair, culminating in the battle for control of Gotham City.
The result is a movie that increases the myth and mystery of its protagonist by effectively pushing the character into the background; director Tim Burton was clearly more fascinated by his colourful villain than by Batman himself. And with good reason – Jack Nicholson steals every scene he’s in, bringing an undeniable presence to the role and imbuing his version of the Joker with a malevolence often lacking in some of the character’s more campy interpretations. In taking on the role, Nicholson demanded – and was given – top billing ahead of the actor who would actually play the Dark Knight.
But it’s not just the casting that impresses; despite calling the experience of working on his first big-budget studio movie “the worst period of my life,” Batman is unmistakably a Tim Burton film. From the gothic design flourishes evident in almost every scene to the dark humour that abounds throughout, Burton succeeded in giving what could have been nothing more than a generic action film under a lesser director the same unique and distinctive artistic touches that have been indicative of his work throughout his career.
In doing so, he jettisoned the overly camp tone of the sixties television series – which until that point was unquestionably the most familiar version of the character to the public at large – in favour of one more in keeping with the earliest comic books, as well as Frank Miller’s Year One and The Dark Knight Returns, and Alan Moore’s The Killing Joke. The cartoony ‘BOOM!’ and ‘THWACK!’ sound effects of the sixties show are replaced by the unflinchingly grisly and realistic sounds of cracking bones and gunshots, all of which led to the film receiving the first ever 12 certificate in the UK – thus denying it to hordes of pre-teen fans clad in their Batman t-shirts and baseball caps.
Another of Furst’s successes was the design of the new Batmobile. Replacing the iconic vehicle of the sixties television show was never going to be an easy task; that he succeeded in creating a design that has itself become an icon – and arguably one of, if not the most popular incarnation of Batman’s car – is nothing short of a miracle. Furst, along with set decorator Peter Young, was rewarded with an Academy Award for his work on Batman.
Equally impressive is the movie’s score by Burton’s frequent collaborator Danny Elfman. Producer John Peters was initially hesitant about hiring the composer, but was swiftly convinced by Elfman’s memorably bombastic Batman theme, which remains as fresh today as it did when it was first heard back in ’89.
Yet for all its faults Burton’s Batman – which the director himself once remarked as being “more a cultural phenomenon than a great movie” – remains a hugely enjoyable film, and a landmark in cinema history that continues to influence comic book movies to this day.