From https://ladygeekgirl.files.wordpress.com/2015/ 10/batman-mask-of-the-phantasm.jpg |
Directors: Eric Radomski and Bruce
W. Timm
Screenplay: Alan Burnett, Paul
Dini, Martin Pasko and Michael Reaves
(Voice) Cast: Kevin Conroy (as
Batman/Bruce Wayne); Dana Delany (Andrea Beaumont); Hart Bochner (Arthur Reeves);
Stacy Keach (Carl Beaumont); Abe Vigoda (as Salvatore Valestra); Mark Hamill
(The Joker)
A Night of a Thousand Horror (Movies) #21
Because of what the horror genre
tackles - notions of dread, death, decay, the prevailing sense of the ethereal
and haunted but also the emotional baggage left behind by it - it's possible
for other genres to blur into it or entirely take tropes and moods from it. Batman is a particularly great example
of this as a franchise. While I have a growing interest in superheroes, I still
prefer Japanese manga and anime in many cases and, when it comes to DC Comics1, Batman is only one of two franchises
I've any interest in, the other not even Superman2.Batman is arguably the best superhero
ever to be created, and I argue it's as much how flexible to character and
world is to various genres as it is that world and its characters. The original
character created by Bob Kane and Bill Finger is openly based on the
detective films of the period it was created in and pulp characters that
existed before, horror found in aspects such as the bat costume to strike fear
into criminals and the Joker being inspired by the film The Man Who Laughs (1928). Almost every risk with the world has
been successful in keeping it relevant - pure camp with Adam West became as iconic as the serious version of the character;
rundown science fiction succeeded through Frank
Miller's The Dark Knight Returns (1986);
realism through Christopher Nolan's
trilogy; even unexpected takes like adding Cthulhu -like mythos in The Doom That Came To Gotham (2000-1),
a one-off comic I've recently read penned by Mike "Hellboy" Mignola, work because the characters allow
it. (Only full blown sci-fi in Batman
Beyond is still sketchy for myself unless I find a great story set in the
world. Ironically it's The Big O (2001-3),
a two series anime show made by people who worked on the nineties Batman animated series who wanted to
pay tribute to it, that shows how Batman
in the future could work with noir tropes next to giant robots.)
Horror naturally fits Batman like a hand in a velvet glove,
be it Batman himself or villains like the Scarecrow, and while Mask of the Phantasm is a superhero
genre film rather than full horror cinema, it gladly seeped a PG child friendly
animation with gloom and darkness as a grim reaper figure known as the Phantasm
targets gangsters for punishment, Batman blamed for the crimes when the figure
disappears into mist and bodies are left. A large part of my love for Batman is nostalgia for the critically acclaimed
animated series from the early nineties I grew up with; while I need to return
to it, I still at an impressionable age realised the drastic bar in quality the
show had, and how adult it was in tone, next to the cartoons I was also
watching back then. Revisiting Mask of
the Phantasm as an adult, it's a deeply melancholic tale where the Phantasm
figure interconnects with the tale of the one woman in Bruce Wayne's life who
vanished and broke his heart, the remaining heartache it causes relevant to the
current plot. Starting with images of Gotham's skyscrapers and composer Shirley Walker going for the most
operatic opening theme possible, one of the only animated theatrical released
for a DC Comics franchise is still stupendous
and feels like a proper, adult film with emotion to it.
It is strange realise though,
when I grew up believing the nineties animated series was set in a contemporary
day of the show's own logic, that this version in Mask of the Phantasm is technically a period piece set in the
forties, one of the big factors to why the show had such an effect on me being
its period aesthetic, an art deco tone of forties noir films and grand architecture
that would explain how I became obsessed with aesthetics in cinema and popular
media as I did as an adult. With this film some fifties diesel punk aesthetic
is added for its own narrative, a retro ray gun tone found in a World of Tomorrow
exhibition that plays an important part of Bruce Wayne's (Kevin Conroy) relationship with Andrea Beaumont (Dana Delany), a character who returns to
his life, and the place the Joker (Mark
Hamil) occupies in its desolated form years after. The general style of the
Batman franchise, how important the
city of Gotham was, helped ground the story and make the character accessible
whilst also giving carte blanche for broad, expressionist stylisation; even Joel Schumacher's films, even if you
think he vomited neon onto everything, had a sense of style to them that had
character even if the rest of the films horrified other viewers.
In terms of covering this film
under the scope of horror, its surprisingly dark for a family friendly film, as
an adult amazed that in less than eighty minutes that it manages to create such
an emotional deep, macabre tale of lost love. Against showing the early
beginnings of Bruce Wayne as a vigilante and the creation of Batman, it
emphasises the emotional sacrifice of the position against the tragedy of
Andrea's life. The figure of Phantasm is straight out of horror cinema,
terrorising targets including an extended scene in a graveyard which emphasises
death even if in a way suitable for a young audience. Like with the original
animated series from the nineties, going only from memory, it's surprising how
much Mask of the Phantasm and this
version of Batman got away with in
terms of adult concepts such as death, managing like old forties cinema to
convey grim content without explicitly dealing with it, more so when you also
have a figure like the Joker that is both a comedic figure but, through Hamil's incredible vocal performance, absolutely
terrifying even in this more comedic version. Stuff in this film, even implied,
with Joker is still gruesome to even consider next to when the late Heath Ledger played the character and
did his magic trick with a pencil.
The flashback heavy tale itself
really has a deep emotional level to it, Andrea only a character connected to
this one story but weaved carefully into it that she could easily have been
canonical to the franchise, having an immense effect on the mythology in this
plot. The danger that this type of pulp character, like any superhero, is that
it can become predictable if little changes, negated by how this is, balanced
between moments of comedy and drama, takes a successful risk in having a drama
in the midst of the plot.
From http://thebatmanuniverse.net/image/Movie/History/Animated/Batman-Mask%20of%20Phantasm%20(1993)/Screenshots/Batman %20Mask%20of%20the%20Phantasm020.JPG |
1. Vertical comics are an entirely
different case I separate from DC Comics.
2. The other is Green Lantern. All my knowledge is Wikipedia and that awful Ryan Reynolds film, but the premise's potential
for weird cosmic stories is appealing alongside with the world. Only the
terrible sounding villains outside of the mythos of various colour spectrums of
lantern rings sounds like it's going to be off-putting. With Superman, it's not only how too
invulnerable the character is but how unappealing any of his nemeses are
outside of Lex Luthor are that I have little interesting, and I was someone who
grew up enjoying Lois & Clark: The New
Adventures of Superman (1993-7).
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