Batman Returns (1992): Tim Burton’s sequel is beautiful, strange and silly all at the same time

Chad’s Grade: B-

Tim Burton’s first “Batman” film did everything Warner Bros. executives wanted. It was a massive box office hit, a licensing and marketing machine, and helped coin the phrase “movie of the summer.” The fact that it became a significant influence on other pulp/comic book films (see “Darkman,” “The Shadow,” and “The Phantom”) didn’t hurt either. Warner Bros wanted a repeat performance, eager to see what Burton could do with Batman’s extensive rogue gallery.

The sequel “Batman Returns” was released three years later in 1992 (hey kids, it’s 30 years old!) From his many interviews, Tim Burton didn’t want a direct sequel to the first film. He rejected Sam Hamm’s follow-up script, which featured Vicki Vale, and introduced Robin. Instead, he brought on screenwriter Daniel Waters (of “Heathers’ fame) to rewrite Hamm’s draft (he retains story credit.) Like the James Bond franchise, “Batman Returns” is its own entity with the same character. Burton had made Warner’s corporate-approved Batman film; now, the sequel would be Burton’s version of the Caped Crusader.

After defeating the Joker in the first film, Batman finds himself facing off with the Penguin, a fish-like man raised in the sewers of Gotham. The Penguin, whose birth name is Oswald Cobblepot, frames corrupt businessman Max Schreck to orchestrate a return to the surface world. The Penguin plans to kill the firstborn of Gotham’s elite as revenge for his wealthy family abandoning him to the sewers. Schreck agrees, hoping a cleaned-up Penguin will run for Mayor and approve his power plant. Meanwhile, Schreck’s secretary Selina Kyle has been reborn as Catwoman, declaring war on Gotham’s wealthy male population. When Penguin and Catwoman join forces, Batman finds himself defending Gotham from two very twisted villains. 

Like his first Batman entry, Burton is more interested in the villains than his hero. This is apparent with the introduction of three villains, as Christopher Walken’s Max Schreck is as much an adversary as the Penguin and Catwoman. In fact, this is Penguin’s film, as Burton spends a lot of screen time showing his back story and his mayoral campaign with Max Schreck. Both Keaton’s Batman and Michelle Pfeiffer’s Catwoman are supporting players in Schreck’s and Penguin’s storyline.

This creates an imbalance, as this vision of the Penguin, played by Danny DeVito, is so grotesque and cruel that it’s not fun to watch. DeVito chews the scenery like nobody’s business, but his performance is one-note and grating. With his wild hair and smooth business-like tone, Walken’s Max Schreck is much more interesting, trying to paper over Penguin’s eccentricities as they team up to corrupt Gotham’s political establishment.

But the real star is Michelle’s Pfeiffer dazzling performance as Catwoman. Her Selina Kyle is a force of nature, and the film bursts into life whenever she’s on-screen. A pure Burton creation, this Catwoman is clad in black sheer sewn together like a ragged doll, with a bullwhip that she wields like an S&M dominatrix. And Pfeffer, having the time of her life, is so committed to the role that she makes her ridiculous dialogue sound natural. It’s hard to believe that Annette Benning was initially cast but had to drop out due to getting pregnant (thank you, Warren Beatty.)

The film is bigger, bolder, and more elaborate, with gargantuan sets that swallow the cast. Even Danny Elfman’s hauntingly operatic score has been amped up (his Catwoman themes are a standout.) And Burton brings a circus freakshow sensibility with Penguin’s Red Triangle gang as they terrorize Gotham (look for Vincent Schiavelli and an early appearance by Doug Jones as an evil clown.) Like the first film, Burton’s dazzling visuals prop up the paper-thin narrative.

And anyone who complains about the ridiculous storylines for the Joel Schumacher Batman entries should give “Batman Returns” a fresh watch. The climax features Penguin and his army of “penguin” brothers (animatronics from FX wizard Stan Winston) trying to destroy Gotham with rockets strapped to their backs. It’s all very silly, but Burton and his actors are so committed that you briefly buy into the demented crazy.

“Batman Returns” opened to much hype on June 19^th, and while it opened strong, it petered out to gross almost $163 million domestic and $267 million worldwide. That’s a significant drop from the $251 million domestic and $411 million worldwide gross from the original “Batman.” The general audience was turned off by Burton’s odd eccentricities, particularly the frightening, grotesque Penguin and an overtly sexualized Catwoman. Many mass merchants with licensing deals saw little return, especially with complaints from parents who were turned off by the darker, edgier film. It’s no surprise that Warner Bros. course-corrected, and Tim Burton was not invited back to direct.

THE WAYNE FACTOR:

Michael Keaton’s Batman is unchanged from the first film, and frankly, he sleepwalks through the role this time around. There’s no interplay with Pat Hingle’s Commissioner Gordon (who gets just 5 minutes of screen time), and his relationship with Alfred (a returning Michael Gough) is again played for comedy. This was Keaton’s final turn as the caped crusader, as he declined to appear in the following Joel Schumacher entries. 

The real casting buzz was around Catwoman, as every actress under 35 wanted the role. Sean Young, who dropped out as Vicki Vale from the first film due to a horsing accident, launched a ludicrous campaign. Young even broke into Warner’s lot in costume, stalking Tim Burton. But the director finalized his choices to Lena Olin, Annette Benning, and Michelle Pfeiffer. Benning ultimately won the role (anybody who’s seen her sultry turn in “The Grifters” would know she was perfect) but her recent marriage to Warren Beatty produced a surprise pregnancy. The juicy part went to Pfeiffer, and the rest is history. 

THOSE WONDERFUL TOYS:

The Batmobile was (thankfully) not redesigned for the sequel. It retains its sleek, curvy design with its mechanical car shield. There’s no Batplane, but we do see the Batboat hydroplane in action during the climax with the Penguin.

Sadly, the creatively designed and gothic Batcave from the original was jettisoned in favor of a boring cave structure. 

GOTHAM CENTRAL:

Tim Burton and production designer Bo Welch decided to give Gotham City a complete overhaul, reworking Anton Furst’s award-winning designs. Gone are the thin, gothic skyscrapers and retro film noir look favoring gargantuan city buildings and haunted Rodin-like statues. There’s a German expressionist feel here, drawing inspiration from the silent films “Metropolis” and “The Cabinet of Dr. Caligari.” Even Wayne Manor and the Batcave were overhauled. The sequel has a fresh feel but little continuity with the original film. Which was Burton’s intention.