Batman returns

Who broods more than Batman? That is at least the point of view filmmakers took with Batman Returns, a Tim Burton art-piece masquerading as blockbuster entertainment. The bleakest and kinkiest superhero movie ever made, Batman Returns takes the first line of the original Sam Hamm screenplay to heart: “It’s finally happened; Hell’s frozen over.” Decorating his urban decay with shiny Yuletide wrapping, Burton and his collaborators crafted the most artful cape and cowl picture—a German Expressionist painting so cynical about the holidays, abhorrent commercialism, and the supposed goodwill of man that Ebenezer Scrooge might even cringe.

How this definitively anti-Christmas movie got made on a staggering $80 million budget and then slapped on the back of McDonald’s Happy Meals is almost as fascinating as the skintight vinyl of the movie itself.

Following up on the financial rewards of 1989’s Batman was a no-brainer in the immediate aftermath of its world domination. The highest grossing movie all time upon its release, the Caped Crusader took in an unheard of $400 million worldwide and toppled the summer’s other heavy hitters, Indiana Jones and the Last Crusade and Ghostbusters II. But more impressively, the Dark Knight reached pop culture icon status in a way never before seen when his simple gold-and-black logo became ubiquitous on every T-shirt, trading card, and toy store window. It was inescapable for everyone… except for perhaps a slightly nauseous Tim Burton and Michael Keaton.

Whereas studio executives and even screenwriter Hamm were clamoring at the idea of “Batman II,” Burton famously called a continuation of the film in 1989 a “dumbfounded idea.” Consider that while Batman was nigh universally loved during the heights of Batmania, Burton described the film to Empire magazine in 1992 as “a little boring at times.”

Batman II

In the months before Batman’s phenomenal success, screenwriter Sam Hamm hinted to Comics Scene that he really wanted to use Two-Face and explore how heroic DA Harvey Dent (played by the unflappably charismatic Billy Dee Williams in the 1989 film) became the tragically deranged Two-Face. However, Warner Bros. and Burton had other ideas.

Likely based off the popularity of Burgess Meredith’s foul performance in the 1966 Batman TV series, WB insisted that Penguin be the big bad of Batman II. Further, both Hamm and Burton had a thing for Catwoman. 

“They really wanted the Penguin,” Hamm explained in the 2005 documentary Shadows of the Bat. “Because they sort of saw the Penguin as the number two Batman villain. We wanted to do Catwoman, so we wound up doing Penguin and Catwoman.”

The result was two drafts Hamm turned in for Batman II, which would have made a very different present than what we finally unwrapped in 1992. Literally continuing from the first line of his 1988 Batman screenplay (which began by describing Gotham as “hell has erupted through the sidewalks”), Hamm’s treatment was a direct follow-up to the 1989 film.

While it was certainly Hamm’s conceit to set the Batman sequel in the doldrums of Holiday Cheer, the blanket of snow and Christmas wreaths were more a decorative ornamentation around St. Batman, and the story feels like a direct expansion of what came before: Bruce Wayne is still dating Kim Basinger’s Vicki Vale and is even engaged to her by the end, and he is fighting criminals of the same cartoon-noir decadence as Jack Nicholson’s Joker. Sure, one bad guy is dressed like a dastardly Santa Claus, but instead of having a comical toy gag like the Penguin’s umbrellas in the final film, evil Santa is sporting an AK-47 and mowing down police officers with the kind of stylized grittiness associated with the first Batmanpicture.

Batman II might have been an interesting film since it would have carried over many more of the elements from the 1989 experience that people loved. The villains were psychotic and violent, but they were not freaks in that patented Tim Burton way. The Penguin is a small time criminal with a penchant for birds—which he often uses as weapons with Hitchcock-inspired attack pigeons—and Selina Kyle is the highly sexualized vamp that she’s usually portrayed as in the comics, albeit turned up to 11. Her costume is described as literal “bondage” gear, and she has no qualms about massacring large groups of men with assault rifles or her own claws.

However, Batman II further attempted to ground the title character back in his comic book roots. Bruce Wayne (and even Vicki Vale) is far more the protagonist than he ended up being in the finished film, and one who has developed a strict “no kill” policy. The story is also haphazardly about Bruce Wayne trying to protect the homeless, who are about to get Giuliani’d in Gotham’s Central Park equivalent. He’s also uncovering the secret history of the Waynes.

This leads to the rather lackluster main plotline about Penguin and Catwoman murdering the wealthiest men in Gotham (and framing the Batman while doing it) in an attempt to collect secret “Raven” statues, which ultimately leads to a Christmas Eve Agatha Christie-esque visit to Wayne Manor in the bizarre hope of finding buried treasure hidden (unbeknownst to Bruce) in the Batcave. Oh, and it also introduces Robin as a 12-year-old homeless orphan kid that knows martial arts.

Obviously a busy take on the character, these early drafts needed plenty of work. Still, they maintained the old Hollywood feel of the previous movie. If Batman drew liberally from wiseguy gangster dramas, Batman II appeared to be pulling from The Maltese Falcon except with Sydney Greenstreet and Mary Astor doing the public service of bumping off the most corruptible of one percenters.

Burton was severely disappointed in this approach and wouldn’t sign the dotted line. Not until WB promised, in Hamm’s words, to let Tim make a “Tim Burton movie,” as opposed to a Batman sequel.

“A Tim Burton Movie”

What finally brought Tim Burton onboard for the sequel was the free rein that he and his handpicked new screenwriter, Daniel Waters, received for their vision. Burton had been a fan of Waters’ work on the ultimate dark teen comedy, Heathers (think Mean Girls except actually mean). As a result Burton and Waters had a level of latitude relatively unprecedented before or since with superhero movies.

“Tim and I never had a conversation about ‘what are fans of the comic books going to think?’” Waters said in the Shadows of the Batdocumentary. “We never thought about them. We were really just about the art.”

As a result, and with Keaton’s insistence (who deleted much of Batman’s dialogue by choice in the scripting process), the focus bounced back from Batman to the villains, who changed dramatically in the script. As Burton himself expressed, he never really got the appeal of his main villain in the comics. “You could find the psychological profile of Batman, Catwoman, Joker, but the Penguin was just this guy with a cigarette and a top hat. What is he?!” Burton mused in 2005.

The result was Waters and Burton agreeing to turn the Penguin into a tragic figure every bit as freakish as the Batman. Indeed, Oswald Cobblepot became a repulsive mirror for our hero, a child of wealth who lost his parents when he was abandoned in the sewers on Christmas Eve like a freak show version of Moses.

Also, as Burton admitted to Empire in 1992, Waters brought a political and social satire element to the plot by taking from the Batman TV series and having this repellent oddity run for Mayor of Gotham in a recall election (think episodes “Hizzoner The Penguin” and “Dizzoner The Penguin”). This was only made possible by the smiling machinations of Gotham industrialist Max Shreck, a Waters invention. “I wanted to show that true villains of our world don’t necessarily wear costumes,” Waters said to Empire.

However, his most unique change was his metamorphosis of Selina Kyle from street-wise femme fatale to the ultimate 1990s feminist allegory. “Sam Hamm went back to the way comic books in general treat women,” Waters told Film Review in 2008. “Like fetishy sexual fantasy. I wanted to start off just at the lowest point in society, a very beaten down secretary.” While the ripped costume stitches came from Burton, Waters imagined Catwoman being a psychological (and sexual) fable about the feminine. It was a change Waters half-joked in 2005 that he was ready to “lose the job” over.

Other changes included distancing itself from Batman II’s strict “no kill” policy subplot. Instead, Batman liberally murders many, many people in Batman Returns. “A lot of people complained that our Batman actually killed people,” Waters said in a 2005 Batman Returns special feature. “Some purists would say, ‘Batman would never kill people!’ But I would always say, ‘We don’t live in the time where you can drop criminals off with a net on the front of City Hall.’ The times are darker, so you have to make your character darker.”

Waters ultimately wrote five drafts, which changed aspects drastically. Max Shreck was initially Billy Dee Williams’ Harvey Dent (Catwoman’s electro-kiss at the end of Batman Returns would have left him with the scar and split personality), and in a later draft, Shreck became the Penguin’s long lost brother, a secret Cobblepot (a layer that had to be removed from an overstuffed script). Even Robin made an appearance. However, as Waters later described Robin as “the most worthless character in the world,” his and Burton’s attempt was half-hearted at best: Robin was a fully-grown Batmobile mechanic with a faded “R” on his jump suit uniform. Marlon Wayans was even cast in the role and an action figure was made until the character’s last-minute excision from the screenplay. Wayans still gets residual checks for his two-picture Robin deal (Joel Schumacher later opted to recast Robin with white actor Chris O’Donnell for Batman Forever).

Christmastime in Hell

The actual production of Batman Returns went relatively well after more pre-production nightmares. Danny DeVito was the first and only choice to play the Penguin, a role that Waters admitted he wrote for with DeVito in mind, but the casting of Catwoman was an ordeal unto itself. Despite casting Annette Bening in the role, even Burton and company couldn't anticipate how strange the role's importance would become. After Bening had to drop out at the last minute due to pregnancy, many, many actresses campaigned for the part through traditional channels—including Jennifer Jason Leigh, Madonna, Bridget Fonda, and Cher—but they all paled in comparison to Sean Young, the actress who played Vicki Vale for several days until a horse riding injury caused her to be replaced on the original Batman production.

Convinced that as a result she should have been given the female lead in Batman Returns, Young appeared unannounced on the Warner Bros. lot in a homemade Catwoman costume with the intent of making an on-the-spot audition for Burton. The director reportedly hid under his desk from what he later described as a “UFO sighting,” but producer Mark Canton recalled the event vividly for Shadows of the Bat.

“Michael Keaton and I saw Sean Young dressed as Catwoman leap over my sofa and say, ‘I am Catwoman!’ We looked over at each other and went, ‘Woah.’”

Burton wisely went on to finally cast Michelle Pfeiffer in one of her most iconic roles.

Burton had similar struggles with WB about the new approach to the film, causing him to abandon the sets and aesthetic of the 1989 film. Tragically, the designer of those Oscar winning sets, Anton Furst, committed suicide in 1991, but WB had left them untouched at Pinewood Studios in the UK for the inevitable sequel. However, Burton was adamant that a new look and approach be designed from the bottom up for Batman Returns, leading to the claustrophobic gothic fantasias created by Bo Welch at WB and Universal’s Californian soundstages.

“I wanted to use American actors in supporting parts,” Burton told Empirein 1992. “I felt Batman suffered from a British subtext. I loved being over there, but it’s such a different culture that things got filtered. They could have brought somebody else in for the sequel, and had the same sets, and shot in London, but I couldn’t do that because I’d have lost interest. I wanted to treat it like it was another movie altogether—there’s no point in doing the exact same thing again.”