That was another recognizable name from Batman's DC Comics, the title character in the Salkind brothers' all-star version of Superman (1978). A Batman movie as a follow-up seemed natural but no one seemed to have the ability to get a yes from a major studio. In 1983 the property fell into the hands of Peter Guber and Jon Peters, then best-known as the producers of An American Werewolf in London (1981). Many directors were called but none chosen until 1986 when Tim Burton was appointed director on the strength of the one feature film he had made up until then, Pee-Wee's Big Adventure (1985).
This unusual choice came with some unusual requests that raised the hackles of traditional Batman fans. First, no Robin. All references to the Boy Wonder, who was to have appeared by the end of the movie in the original script, were eradicated. Second, the movie was to have a dark, sinister look with a city more gothic than Gotham. This was inspired by Frank Miller, Jr.'s graphic comic, The Dark Knight Returns, a revisionist version of the superhero. Third, Danny Elfman, former lead singer of the new wave group Oingo Boingo and the soundtrack composer for Pee-Wee's Big Adventure, was brought in to compose the score. Most surprisingly of all, the stand-up comic turned actor Michael Keaton was to be the lord of the Batcave. And in a last minute casting change, Sean Young, who was slated to play Vicky Vale but was injured in a riding accident, was replaced with Kim Basinger. (Gossip columnists at the time reported that during production Basinger dated producer Jon Peters, co-star Jack Nicholson and Prince, the film's composer).
The results surpassed everyone's expectations. Keaton had no problem portraying Batman as a tormented, obsessed crime fighter, Elfman's score could not have been bettered by John Williams and Anton Furst's twisted Gotham City won the designer an Academy Award. The best addition was, however, Jack Nicholson as The Joker. Unrestrained by any need for naturalistic acting, Nicholson played the role with everything he had, coating each line with his own sardonic touch.
Naturally a film of this scale presented several challenges. One was the Batcar whose visual design combined elements of the fifties Stingray with the Utah Flats speed testers of the thirties. The engine was created from two 1968 Impalas but the vehicle was completely unpredictable during filming and almost killed a stunt girl during one scene. Plus, Batman kept getting his ears caught on the car's roof. Equally problematic was Keaton's vise-like body suit, composed of armors of latex bolted together, which made it hard for him to hear or see clearly. In addition, the cape alone weighed 25 pounds and the entire costume became intensely hot during shooting, causing Keaton to kick furniture and throw things in frustration. As for the most difficult scene to shoot, that would be the sequence where the Batcar crashes into the steps of Gotham Cathedral; it required numerous miniatures and a four camera set-up to capture all the action on the street set, which was doused in oil to give it a hosed-down appearance.
The movie's release in the summer of 1989 became the media sensation of that year. Batman insignia were everywhere, two hit soundtracks, one of Elman's score and another of pop songs by Prince used in the movie, raced up the charts as Batman broke box office records. Each summer since, Hollywood has tried to repeat its success as movie followed movie featuring every character in tights who had a secret identity to hide. Few, however, have matched this movie with its dark tone, twisted sense of humor and offbeat performances.
Director: Tim Burton
Writers: Sam Hamm, Warren Skaaren, based on the characters by Bob Kane
Producers: Peter Guber, Jon Peters
Cinematographer: Roger Pratt
Art Director: Anton Furst
Editing: Ray Lovejoy
Music: Danny Elfman, Prince
Cast: Michael Keaton (Batman), Jack Nicholson (The Joker), Kim Basinger (Vicki Vale), Robert Wuhl (Alexander Knox), Pat Hingle (Commissioner Gordon), Billy Dee Williams (Harvey Dent).
C-126 min. Letterboxed.
by Brian Cady
