Batman (1989): Tim Burton’s version of the Dark Knight has not aged well

Chad’s Grade: B-

There have been so many iterations of DC’s Batman that watching the original 1989 film version is a strange experience. With the deluge of superheroes currently in multiplexes, people forget that the 1980s were the dark ages for comic book-based fare. The original “Superman: The Movie” was a massive hit in 1978, thanks to Christopher Reeve’s magnetic performance, Richard Donner’s grounded direction, and the triumphant score by John Williams. But the three sequels and their successive drop in quality and box office cooled Hollywood’s appetite for anything related to superheroes. 

Up until 1989, the only live-action version of Batman was the long-forgotten 1943 matinee serial and the campy 60’s TV show starring Adam West and Burt Ward. A whole generation grew up watching that colorful show with its “Bam!” “Pop!” “Pow!” aesthetic and A list of guest stars vamping it up for the small screen. I wonder if Warner Bros executives had that style in mind when they hired director Tim Burton who at the time was known for quirky fare like 1985s “Pee Wee’s Big Adventure” & 1988s “Beetlejuice.” 

But Burton wanted to bring a darker edge to his feature film version, inspired by Frank Miller’s 1986 seminal graphic novel “The Dark Knight Returns,” which radically changed the caped crusader’s image (or restored it, depending on whom you ask.) The result is a film drenched in stunning gothic visuals over a bare-bones storyline.

The city of Gotham is a metropolis synonymous with crime, ruled by gang boss Carl Grissom and his right-hand man Jack Napier. Their grip on the town is threatened by the arrival of a dark vigilante whom the criminals dubbed the “bat.” Following these developments are reporter Alexander Knox and photographer Vicki Vale who are doing a story on the “Batman” and need proof. Unfortunately, Jack Napier has a falling out with his boss over an affair with Grissom’s mistress Alicia. During a face-off with Batman, Napier is dropped in a vat of chemicals and is reborn as the crazed Joker, complete with a permanent smile on his face. A cat and mouse battle of wills erupts between the maniacal Joker and the Dark Knight over the soul of Gotham City.

With its basic plot ripped from the “gangster 101” handbook and paper-thin characters, the 1989 Batman has not aged well.  What makes it worth a revisit is the charismatic performance of Jack Nicholson, playing a campy but still edgy version of the Joker. Nicholson was known for that sneering smile and intimidating gaze, so his casting elevates the picture. Also interesting to watch is Michael Keaton, playing against type as a quirky and eccentric Bruce Wayne/Batman. 

What makes this Batman really sing is the atmospheric visuals enhanced by the stunning production design. It’s like art deco drenched in a layer of gothic darkness. The city has a timeless quality, inspired by the film noirs of the 1940s with its muted color scheme and fog-covered streets. This gothic style would be a hallmark of Burton’s films for much of the 90s and influenced the groundbreaking “Batman: The Animated Series.” 

This Batman is more of a “Joker” picture than the title character. Director Burton seems more interested in Batman’s rogue galleries than the Dark Knight himself, a quality that would permeate his sequel, 1992s “Batman Returns.” While both Batman and the Joker share equal screen time, it’s more fun to watch Jack Nicholson hamming it up than Keaton’s more serious turn. Robert Wuhl is miscast as roving reporter Alexander Knox, never taking his character seriously and delivering every line like a stand-up comedian. More concerning is Kim Basinger as photojournalist Vicki Vale who is saddled with the “love interest” role. While she gets a few scrappy moments during the very cool “Batmobile” sequence, she was cast to be the damsel in distress and nothing more.

When Batman was released in 1989, it was a marketing juggernaut and the movie to see that summer. I was in high school at the time of release, and everybody was wearing Batman T-shirts, and the iconic poster adorned my wall. There were toys, fast-food tie-ins, and Topps trading cards. Even the moody operatic score by Danny Elfman and the Prince soundtrack were big hits. I dare say that Warner Bros made more money from the licensing than the actual film itself. The movie also gave a much-needed jolt to the comic book industry, especially DC, trailing Marvel in sales for much of the decade. Sales of the Batman comic went through the roof, and the film influenced the style of the comic, returning the Dark Knight to his gritter roots. The new interest in the comics primed the pump for the death of Superman event in 1992, which would kick the direct market into overdrive and create the 90s speculator boom.

This version of Batman comes off a bit silly with a funhouse vibe, especially when you compare it to Christopher Nolan’s sleek, cerebral “Dark Knight” or the grittier Matt Reeves directed “The Batman.” It has all the hallmarks of a Tim Burton film: amazing visuals (that “bat-plane” moon silhouette is a stunner) with a simple and predictable script. 

THE WAYNE FACTOR:

While cheers and applause greeted the casting of Jack Nicholson as the Joker from the fan community, they went into full-scale revolt when Michael Keaton was revealed to be Batman/Bruce Wayne. How could “Mr. Mom” convincingly play the grizzled dark knight? At the time, Keaton was mainly known for comedy fare and a gonzo turn as the title character in Burton’s “Beetlejuice.” It was a bold casting choice, but Keaton stepped up to the plate and delivered a serious if eccentric performance. The bet paid off, and Keaton is now warmly remembered for his unique take on the character (and will be making a return to the cowl in the upcoming “Flashpoint” film.) 

That said, Keaton’s Bruce Wayne has a light and comedic interplay with Alfred, played by English actor Michael Gough. Their scenes mainly consist of Alfred scolding Bruce for not courting Vicki Vale. Also, MIA is Wayne’s interaction with Commissioner Gordon, portrayed by Pat Hingle. The good commissioner has about five minutes of screen time, mostly Gordon yelling at his officers to trail Batman. This Bruce Wayne is mainly isolated, save for his relationship with the twisted Joker. 

CHICKS DIG THE CAR:

This version of the famous Batmobile was very cool and a big hit with the fans. The sleek, black vehicle with those sexy curves was a perfect fit for the gothic tone of the movie. The “batmobile” rescue sequence with Vicki Vale is an action highlight (and features the classic Joker line – Where does he get those wonderful toys?) The famous car would reappear in “Batman Returns” and would influence the batmobile (with way more neon!) in the two Joel Schumacher directed outings “Batman Forever” and “Batman & Robin.” 

GOTHAM CENTRAL:

Tim Burton’s Batman films have the most stylized Gotham City in the franchise. The atmospheric production design by Anton Furst and Peter Young won an Oscar in 1990, and the sets alone are worth a look. Those opening shots of crime-ridden Gotham with its gothic neo-noir gloss immediately set a tone for the movie. Even the bat-cave, usually just a boring cave structure, looks like something out of “The Phantom of the Opera” with its staircases and multi-levels. Burton’s moody, stylized metropolis would influence the various 90’s pulp comic iterations of “The Shadow,” “Darkman,” and “The Phantom.” Next to the dystopian “Blade Runner,” no other movie significantly impacted film production design.