Writer of things that go bump in the night

Tag: Tim Burton (Page 2 of 2)

Who’s Laughing Now? Different Depictions of the Joker, Part 2

Last week, we looked at the Joker as portrayed by Jack Nicholson in Tim Burton’s 1989 blockbuster Batman and analyzed his five traits:

  1. Criminally, murderously sociopathic
  2. Wickedly macabre sense of humor
  3. Grandiose/theatrical
  4. Artistic/aesthetic
  5. Egomaniacal

This interpretation somewhat varied from those that had come before it:  He was certainly more lethal than Cesar Romero’s Clown Prince of Crime from the old Adam West series, and artistic is such a singular Tim Burton peculiarity—a signature he left on the crazy-quilt mosaic that comprises the Joker in his ever-evolving mythic totality; in American Idol’s clichéd parlance, Burton “made it his own.”  His Joker shared an undeniable DNA strand with the arch-villain created by Jerry Robinson, Bill Finger, and Bob Kane in 1940, the one later personified by Romero in the sixties, as well as then-contemporary comic incarnations as envisioned by Frank Miller (The Dark Knight Returns), Alan Moore (The Killing Joke), and Grant Morrison (Arkham Asylum:  A Serious House on Serious Earth), despite the markedly different aesthetics within which each of those varied interpretations were realized.

Because where is the line drawn, really, between a reinterpretation and an altogether different character?  How does an artist (in a vocationally general sense) redefine a folkloric figure to reflect his own personal idiosyncrasies, the sociocultural conditions of the day, or both, while still working within the recognizable parameters of a time-honored fictional creation?

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Who’s Laughing Now? Different Depictions of the Joker, Part 1

To commemorate his seventy-fifth anniversary, the United States Postal Service recently released a sheet of stamps featuring an illustration of Batman from each of the four culturally designated periods of comic-book history:  Golden Age; Silver Age; Bronze Age; Modern Age.  In light of Entertainment Weekly’s recent observation that we seemed to have reached peak Batman saturation, I can’t help but feel a nostalgic longing for the Batman of my youth.  My Batman.  You know the one I mean:  The Batman that hopped behind the bubbled windshield of the Batmobile, an earnest Robin riding shotgun, fiery thrust of the afterburner blasting my heroes from the Batcave…

Hmm.  That could’ve been several different Batmans—even in those more innocent times (for him and me)—now that I’m thinking it over.  My first exposure to the Caped Crusader came in the form of syndicated afternoon reruns of the old Adam West series (which had ended its run over a decade earlier); at some point, my not-yet-literate mind recognized a correlation between the show’s splashy opening logo and repetitive choral chant that accompanied it, and “Batman,” to my mother’s surprise and delight, became the first word I could read and write.  (She was, mercifully, apparently either unaware of or unconcerned with the admonitions of Fredric Wertham a quarter century prior.)  Batman also had a strong animated presence at the time, appearing concurrently in a Filmation series that served as a de facto sequel to the ‘60s live-action show, as well as the long-running Super Friends franchise from Hanna-Barbera.  (That these aired on competing networks, something that would never happen today, only serves to illustrate how comic-book characters have gone, in my lifetime, from licensed-property afterthoughts to tightly leashed, billion-dollar corporate assets.  But, that’s a topic for another article…)

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