Entertainment

How Tim Burton’s ‘Batman’ Made the MCU


It’s easy to look down on 1989’s “Batman” these days.

  • Those ancient effects!
  • Rubber Bat!
  • The lack of real-world attractions in Gotham City!

However, director Tim Burton was so right with his superhero film that those clarifications didn’t matter. And, while we won’t get our first modern hero for another 19 years – 2008’s “Iron Man” – it’s clear that Burton’s vision set the stage for the MCU magic to continue and of course. , “Batman” by March.

No one expected or wanted, Burton mimicked the Day-Glo wonders of 1966’s “Batman: The Movie” starring Adam West. That movie, part of the “Batman” TV series, was our hero’s last appearance on the big screen.

That effort, along with its relentless repetition, has cast a shadow over superhero movies in general. It’s children’s stuff.

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The original “Superman” (1978) helped to reduce that image, but its sequels became more raw, less believable. Other super-like stories, including “Supergirl” (1984) and “Howard the Duck” (1986), reinforce the genre’s weaknesses. The fun goofy “Swamp Thing” (1982) movie shared some DNA with the television antics of West and co.

So Burton went all out in reviving the superhero genre with an actor deemed ill-equipped for the gig. Or so many people talk about Michael Keaton, the luminary star of “Mr. Mom” and “Night Shift” have signed on to play Bruce Wayne.

If that casting call were made in our age of social media, Warner Bros. would probably pull the plug rather than leave Keaton as the iconic cowboy character.

Instead, Keaton did well, and “Batman” became the top grossing film of 1989 ($251 million domestic box office).

The film spawned three sequels, two new Batmen (Val Kilmer and George Clooney) and a film that reflects the franchise’s troubled roots. Clooney spends every other interview sorry for his “Batman and Robin” behavior.

However, this is the first “Batman” to showcase what can be achieved with a superhero on the big screen.

It starts with Danny Elfman’s Score, which is both thrilling and instantly believable. Iconic movies require equal iconic scores – think, of course, “Star Wars,” “Jaws” and “Raiders of the Lost Ark,” all by John Williams. .

However, the secret sauce involves more than just rocking the music.

The film wisely keeps both the hero and the villain away from us for as long as possible. When Keaton tells a thug, “I’m Batman,” it’s our first full look at him. It’s still a dark night, and we’ll have to wait to see more of him.

As for Jack Nicholson’s Joker, that revelation also packs a punch.

Burton loves the dark, both in terms of cinematography and emotional genre. He’s dipped into both here, making the Joker resemble his 60s roots and a scary person.

Sure, Gene Hackman’s Lex Luthor conspired to kill millions in “Superman,” but he rarely does his own dirty work. Nicholson’s Joker kills a mobster in the movie with no remorse. He then brags about killing his girlfriend, played by Jerry Hall.

Burton taught us superhero movies can be so bleak. Future MCU directors have made it clear.

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The action beats of the film remain solid, if not for the visuals. Burton’s team didn’t have a CGI toolkit, so he went with super battles. That proved effective in some skirmishes but showed its limitations in Batmobile sequences.

That car doesn’t go as fast as a hero’s car.

Our hero is not the Boy Scout type but Christopher Reeve’s Man of Steel. He comes into conflict with his loyal friend, Alfred (Michael Gough) and sends very mixed signals to his new flame, Vicki Vale (Kim Basinger, who is screaming too much here).

Keaton’s Wayne tries to tell her his secret identity at one point, gently telling her to “shut up” so he can say what needs to be said.

It’s something Clark Kent would never say to Lois Lane, and it shows that Burton’s Batman is both flawed and contradictory. He damaged the goods.

Once again, future superheroes will be similarly complex, whether it’s the furious Spider-Man or the warring Avengers from “Captain America: Civil War”.

“Batman” doesn’t delve into politics or broader cultural issues. It’s something the MCU has slowly and wisely introduced over time (before waking up). The story still expands on what a superhero movie can be, from its bleak shade to bridging the gap between reality and the comic book page.

Both Batman and Joker show a visual compromise, and the next Bat movies will plunge us into a normalized version of the superheroes. Just compare the new Riddler with the old:

Hollywood’s acceptance of superheroes is inevitable. Available audiences, demand for recognizable characters… CGI magic can make anything possible on screen. It’s all catnip for the studios.

We can look back to 1989 as the year that showed us the full creative potential of the genre.



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