Bioshock's iconic opening was surely inspired by that of the one in Batman: Mask of the Phantasm. They both use the same Futurist- steeped, sleek Art Deco style which inspire the towering structures of the city, and swoop in, out and between the 3D models to establish their mood and atmosphere. The film is from a time when animation was getting more and more comfortable with these types of three dimensional sequences which turn the traditionally flat canvas into a visual playground; think Quasimodo swinging around the bell towers of Notre Dame like Spiderman, or the iconic chandelier shot in Beauty and the Beast. It's an altogether more classical rendition of Gotham City and its inhabitants, cobbling together various anachronistic elements to resemble something of a neo-noir: steel arches, fedoras, figures ripped straight from Edward Hopper's Nighthawks, shameless womanisers, bikers with chains and bats, and the long halls and longer shadows of Wayne Manor. This is a far cry from the recent realist depictions of Nolan's Batman trilogy, which evoked a frantic, terror-stricken, post-9/11 atmosphere in a setting far larger than what a simple animated figure could cover in one night. Nolan's Gotham has slums within slums and cities within cities, indulging in panoramic widescreen IMAX shots, and reflect a reality where the enemy isn't merely thugs with guns but larger sociopolitical and economical structures. It is worlds away from the moralities that Phantasm initially implies in its art: stark, boldly lined, clearly drawn.
Like a true good old fashioned noir the story dives almost immediately and often into flashbacks that dole out the backstory. The film avoids the usual familiar territory that has been etched out in previous cinematic adaptations, but also effectively revisits the mythos of Batman and the fear surrounding the dark knight that makes him such a fan favourite. Early on in his crime-fighting career, Bruce juggles intimidation tactics and the conflict between the streets and the empty family home - never before has a cinematic Batman skipped the double murder in the alley and instead shown a torn Bruce Wayne bargaining at his parent's grave, struggling to reconcile his promise to clean up Gotham's grime and his desire for romance and a normal life. When he proposes to Andrea he gets more than a telling sign, an ominous column of bats curling and fluttering into the sky like the first ever bat signal. The ending suggests more of the same; that Bruce Wayne and Batman are two separate entities, that only one of them can truly exist in more than empty shape and form, and that other figures have also experienced similar tragedies and conflicts.
The true success of Phantasm is being able to tie these difficult questions into what the caped crusader is truly beloved for: a hammy superhero with an entire arsenal of gadgets and gizmos who fully embraces what he is. The Batman figure has always been a little bit ridiculous - why not go with it? What will endless vengeance solve? It's a good question for an adult in a bat costume, but aside from trying to answer it, there's also classical action taken straight from the animated series and the comic books they are based on, with the type of hits and blows where you can almost visualise the outlines of the 'KA-POW' on the screen. The set pieces are appropriate; the huge, full moon illuminating the city, and the Batman and his arch-rival posed like giants as they battle in the model future world exhibit. Mark Hamill is the voice behind the excellent Joker, who might be the only super-villain able to make brandishing an electric mixer even remotely menacing. With his wide grimaces and infamous cackle, Hamill turns any fight sequence into a heightened battle of the wits, alternating one-liners and swinging fists. Shirley Walker's brass- heavy theme is reminiscent of Danny Elfman's from the Burton movie, retaining most of its grandiose, darkness and mystery as the opening surveys the city skyline. And Kevin Conroy's steely tones are worthy of being included in the best of the on-screen Batman portrayals. He's just, formidable, unwavering - until he is confronted with a glimpse of a second chance at a different life.
Like a true good old fashioned noir the story dives almost immediately and often into flashbacks that dole out the backstory. The film avoids the usual familiar territory that has been etched out in previous cinematic adaptations, but also effectively revisits the mythos of Batman and the fear surrounding the dark knight that makes him such a fan favourite. Early on in his crime-fighting career, Bruce juggles intimidation tactics and the conflict between the streets and the empty family home - never before has a cinematic Batman skipped the double murder in the alley and instead shown a torn Bruce Wayne bargaining at his parent's grave, struggling to reconcile his promise to clean up Gotham's grime and his desire for romance and a normal life. When he proposes to Andrea he gets more than a telling sign, an ominous column of bats curling and fluttering into the sky like the first ever bat signal. The ending suggests more of the same; that Bruce Wayne and Batman are two separate entities, that only one of them can truly exist in more than empty shape and form, and that other figures have also experienced similar tragedies and conflicts.
The true success of Phantasm is being able to tie these difficult questions into what the caped crusader is truly beloved for: a hammy superhero with an entire arsenal of gadgets and gizmos who fully embraces what he is. The Batman figure has always been a little bit ridiculous - why not go with it? What will endless vengeance solve? It's a good question for an adult in a bat costume, but aside from trying to answer it, there's also classical action taken straight from the animated series and the comic books they are based on, with the type of hits and blows where you can almost visualise the outlines of the 'KA-POW' on the screen. The set pieces are appropriate; the huge, full moon illuminating the city, and the Batman and his arch-rival posed like giants as they battle in the model future world exhibit. Mark Hamill is the voice behind the excellent Joker, who might be the only super-villain able to make brandishing an electric mixer even remotely menacing. With his wide grimaces and infamous cackle, Hamill turns any fight sequence into a heightened battle of the wits, alternating one-liners and swinging fists. Shirley Walker's brass- heavy theme is reminiscent of Danny Elfman's from the Burton movie, retaining most of its grandiose, darkness and mystery as the opening surveys the city skyline. And Kevin Conroy's steely tones are worthy of being included in the best of the on-screen Batman portrayals. He's just, formidable, unwavering - until he is confronted with a glimpse of a second chance at a different life.