Batman Returns (1992)
Director: Tim Burton
Starring: Michael Keaton, Danny de Vito, Michelle Pfeiffer, Christopher Walken, Michael Gough
Primary genre: Superhero
Nominated for: Best make up, best special effects
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Following a strong creative output with “Beetlejuice” (1988), “Batman” (1989) and “Edward Scissorhands“ (1990), Tim Burton was given free creative reign in his return to the world of the Dark Knight. Much to the displeasure of those pesky Warner Bros. executives, he jam packed in a what should have been a child-friendly ride, sinister tones, not so subtle sexual innuendos and almost graphic violence in a Christmas wrap. Yet, it is precisely for these reasons that “Batman Returns” remains a career high for the eccentric director and a remarkable achievement in visual filmmaking.
Lacking the behemoth that was Jack Nicholson’s Joker, the screenwriter (of the “Heathers” (1989) fame) had enough wisdom to increase the number of villains (from one to three) and interconnect them through interesting and surprisingly meaningful threads of essential storytelling. The Penguin, the Cat and the … Business Man all get a solid slice of the running time at the expense of our hero which could be annoying or exciting depending your perspective. Burton has been known to be a strong advocate for the weird and down right bizarre and his preference bias towards his antagonists is evident.
Delivering one of the best performances in film, an unrecognizable Danny DeVito plays a literal hybrid of man and bird through Stan Winston’s Oscar nominated designs and prosthetics which enable the beloved actor to craft an animalistic and aristocratic portrayal that comes really once in a lifetime. Despite the ignorance of the then critics, it is this type of take that deserves appreciation and awe after a few decades of re-evaluation. His on screen aesthetic, a blend of faded nobility from his rich origins to the infusion of circus tricks (in a stroke of genius, each one of his umbrellas bears a concealed weapon), is exceptional reminding us now an era where filmmakers would at the expense of the source material, put (a lot of) effort to bring forward novel ideas. DeVito gets his share of quotable lines causing equal amounts of disgust and since this is a Burton flick, pity.
Yet, this unique creation is fighting for screen control over a borderline psychotic Catwoman, who takes the notion of feeling feline to a brand new level. A damaged character underneath that is explored early and efficiently, this movie was woke before woke was a thing. Selina Kyle is a berated, intimidated and a mostly ignored by men woman due to her naïve and well-intended behavior. And this is why her flirt with death provides her a justified (and tragic) reason to unleash her inner instincts and develop a more unhinged personality that embraces her sexuality by sporting her now iconic dominatrix like costume with whip in hand. Pfeiffer plays it straight and relishes in her role while her shiny leather suit makes for a “dazed and to die for“ cinematic figure that marked the early 90s.
The catalyst though for everyone involved in this tale of snow, violence and heroic antics is the one and only Christopher Walken as the shady and wealthy businessman Max Schreck. Perhaps, in the most Walken-iest role, dear old Christopher dominates the scenery, shares great antagonistic chemistry and employs a silver tongue that gets him out of trouble even at the worst of times. The script attempts and mostly succeeds to create a back and forth dynamic between these three individuals, brushed by interesting characterizations that bear animalistic traits: Penguin is a cold blood animal (as he loudly proclaims) that will not hesitate to kill infants or any henchmen who dare to object to his plans, Max is a vicious and ruthless power player to anyone but his son in the way a lioness reacts and protects her cubs; and Selina waltzes indifferent to the chaos around her without a particular aim at sight.
However, the presence of so many antagonists naturally exhausts any meaningful moments for our hero and thus Michael Keaton’s Dark Knight remains the weakest link. Despite his charisma as both Bruce Wayne and Batman, he does not do anything drastic barely exceeding the development and traits of what we saw in the previous film: he is lock and loaded and ready to kick ass. Still when your movie boasts so much acting talent and visual panache, it is hard to care and Keaton does not disappoint by putting forward an imposing hero.
“Batman Returns” is not only a great movie but is the rare instance where the sequel outclasses its predecessor in every aspect. As the finest example of brining to life German Expressionism, it demonstrates superb style with Burton using exclusively sets to showcase his vision in a monochromatic palette of a snowy black and grey Gotham that is captured through the dynamic camerawork of Stephan Czapsky and complementary special effects that have aged gracefully. The fantastic production design by Bo Welch does not seek to imitate the award winning art deco work of the first film and nicely incorporates as much Christmas sentiment as possible elevating “Batman Returns” as the ultimate adult holiday flick. Meanwhile Mary Vogt and Bob Ringwood have created an anachronistic and dazzling costume display for this “freak show”, the highlights being Michelle Pfeiffer’s skin tight leather suit and Max Schreck’s masquerade ball where each guest is wearing a variation of a famous art work or historical monument.
Scored by Danny Elfman’s best work to date, his main three musical points address the movie’s tragic events through the deployment of a melancholic female based chorus, highlight the playful but darker Christmas tone and emphasized the action with the thunderous rendition of the iconic Batman theme. The action also is not only improved and bears a wider scope but is clearly more inventive too: we get a more flexible Batman taking part in theatrically inspired action sequences that range from fighting the Penguin’s deadly gang that rely on their unique abilities skills to commit crimes to hold off a throng of armed with rocket launchers (real) penguins; you won’t find a more entertaining mix of comic book excitement and magical surrealism for sure.
“Batman Returns” took the elements that worked well in the first approach and dialed them up to 11. Without a clear real world timeline to be tied into which could rendered it as outdated, its striking visual style remains to this day unmatchable, and its downright ambition that lurks in its own eccentric displays of violence and emotional outbursts make it not only the best “Batman” entry but also one of the best films out there despite the several liberties taken around its central characters. It is a proper blockbuster where every cent and dime is seen on the big screen supported by three phenomenal performances that few actors dream of giving.
A superior sequel
+Exquisite visuals
+Superb dark and bizarre tone
+DeVito is incredible
+Pfeiffer steals the show
+Walken destroys anyone in close proximity
+Welch’s production design
+Anachronistic and iconic costume design
+Fantastic make-up
+Elfman’s best work to date
+Czapsky’s cinematography
-Too dark for kids (but who cares)
-Batman is still a secondary character
-Creative liberties might bother purists