With 10 live-action feature films in the can and many, many more to come, Batman is probably the most popular, or at least the most recognizable superhero on the big screen. The Dark Knight has been reinvented no less than seven times with a variety of performers taking a crack at the Bruce Wayne/Batman dynamic, and whileChristopher NolanandChristian Bale’s adaptation of the character has become the Gold Standard (whileBen Affleckis still working on solidifying his own take andWill Arnett’s got his comedic iteration in theLEGO Batmanfranchise), there’s oneBatmanfilm in particular that tends to get overlooked as nothing more than an oddity:Batman Returns. Indeed,Tim Burton’s sequeltechnicallypaved the way forJoel Schumacher’s radically light spin on the material inBatman ForeverandBatman & Robin, but in factBatman Returnsremains one of the best Batman films ever made, oozing with character, style, and a surprising amount of thematic heft.
When directorTim BurtonmadeBatmanin 1989, anticipation surrounding this big screen iteration of the comics character was intense. At that point Burton had only made two feature films,Pee-wee’s Big AdventureandBeetlejuice, and he had certainly never worked on this scale before. Regardless,Batmanwas a box office hit withMichael KeatonandJack Nicholsondrawing praise for the performances and Burton’s art deco-inspired aesthetic bringing Gotham City to vivid life. But Burton had struggles on that film, including the fact that the script was constantly evolving during shooting (earlier drafts included Dick Grayson and the murder of Vicki Vale during the climax).
WithBatmana bona fide success, Burton was subsequently hired to make a sequel with a more significant degree of creative freedom—and it definitely shows.Batman Returnsis 100% Burton, with the filmmaker ratcheting up his art deco aesthetic and gleefully walking the line between menacing and off-putting when it comes to the villainous Penguin.
Burton’s handling of the antagonists is one of the greatest strengths ofBatman Returns.Danny DeVito’s Penguin isn’t simply some dastardly baddie with plans to blow up Gotham City just because. He’s a deformed outsider who’s been stewing in the shadows for decades. Initially, he just wants to be accepted, but in teaming up withChristopher Walken’s corrupt businessman Max Schreck, his plans become more nefarious.
By the film’s third act, Penguin’s master plan involves kidnapping infants and dumping them in toxic waste—and yet he’s still not the most despicable villain in this movie. The Max Schreck character was a masterstroke on the part of Burton and screenwriterDaniel Waters(ofHeathersfame). He brings a political edge to the film’s plot that elevates it above a simple blockbuster story. This morally bankrupt man who literally throws his secretary out a window sees only opportunity in Penguin, attempting to coerce DeVito’s character into a run for Mayor that will grant Schreck even more control over the city and, thus, expand his empire without limits.
And then there’s Catwoman, withMichelle Pfeifferdelivering one of the best performances of her career. Neither hero nor outright villain, Catwoman is a breath of fresh air in the film, toying with Batman and Penguin like her feline namesake. There’s an unmistakable sexuality to the characterization, but Pfeiffer owns it, using it to her advantage. Burton strikes just the right tone here, able to play Catwoman’s interactions for laughs, terror, and sometimes both at the same time resulting in the definitive onscreen iteration of this memorable character.
This is also a film that really melds the sensibility of theBatmanTV series with the more realistic, albeit somewhat operatic style of Burton. There’s a scene in Penguin’s lair between Penguin and Catwoman that feels like it’s straight out of the TV show, coming just up to the line of camp but never tipping over. The chemistry between DeVito and Pfeiffer is hilarious, but separately the two are able to round out their characters as beings with which the audience can empathize.
Really the only major complaint I have withBatman Returnsis that its supporting characters are so good that Batman kind of gets the short end of the stick, but that’s almost made up for in the thematic drive. Catwoman isn’t just there simply to add another obstacle in Batman’s path—the arcs of Bruce Wayne and Selina Kyle are mirrors of one another, two people living dual lives. We see the toll it takes on each, culminating in that final confrontation where Bruce tries to get Selina to give it up. It’s almost heartbreaking, and you really feel for these characters and wish for them to be able to find some peace together. Then Selina barbecues herself.
UltimatelyBatman Returnsproved too dark for audiences, and it’s hard not to argue that the filmprobablyshould’ve been rated R. Warner Bros. got scared, refused to hire Burton for the next sequel, and they overcorrected with the light and campyBatman Forever. ButReturnsstill holds up today as one of the best Batman movies ever made—thoughtful, artful, and wholly unique. Say what you will about Burton’s style or career, but there’s more distinct character inBatman Returnsthan in most superhero movies made nowadays. This is truly Tim Burton’sBatman Returns, not a mass-marketed, focus-group-tested product made with the lowest-common denominator in mind. It’s weird and twisted and certainly not for everyone, but for a character as ubiquitous as Batman,Batman Returnsis unforgettable.
