A Movie so Nice, They Named it Twice

Film: Beetlejuice Beetlejuice
Format: Streaming video from HBO Max on massive television.

When a sequel comes out a really long time after the original movie, it feels like a crap shoot. Sometimes, you get something like Mad Max: Fury Road, a movie for the ages. Sometimes you get Psycho II, which is far better than it deserves to be. And sometimes, you get Coming 2 America, which should never have been greenlit. So I went into Beetlejuice Beetlejuice, coming 36 years after the original film, with hope, but with my expectations guarded.

It's also worth noting that we have upgraded our downstairs television. It’s hard to say no to a giant-ass screen when the price drops on it so much that it costs about half of a car payment. I was planning on christening the TV with something like the new Frankenstein film, but this was more my wife’s speed, and so we went with this instead.

Off Script: Beetlejuice

Films: Beetlejuice
Format: DVD from Cortland Public Library on The New Portable.

Opinions on Tim Burton are varied to put it mildly. Burton absolutely has his fanboys and fangirls who will apologize for everything he does just has he has constant detractors who will downgrade all of his work. I find it easy to be done with Burton as a director. I can’t watch a lot of him, and for the most part, I like his less Burtonesque films (Big Fish, for instance) more than his more trademarked films. I like Sleepy Hollow more than a lot of people, but I think he genuinely never did better than Beetlejuice.

My guess is that for at least some of you reading this, I don’t have to actually justify that statement any more than I already have. Beetlejuice is the just about perfect confluence of Burton’s weird aesthetic, goofiness, and humor. It’s also beautifully cast from top to bottom. Frankly, Beetlejuice is a damn joy, and I’ll fight anyone who claims differently.

Wednesday Horror: Sleepy Hollow

Films: Sleepy Hollow
Format: DVD from personal collection on laptop.

I’m not what anyone would mistake for a Tim Burton apologist. I like plenty of his movies, sure, but there are a bunch that leave me pretty cold as well. It seems sometimes that he is too focused on the look of the film and not enough thinking about the content. There are notable exceptions, of course. One of these is Sleepy Hollow, which suffers a little from being a Burton gothic/steampunk fantasy but manages to transcend most of its problems with good storytelling and a lot of visual pizazz.

The Legend of Sleepy Hollow is a classic American fable. In the story, a schoolmaster named Ichabod Crane competes with local tough guy Brom Van Brunt for the hand of the richest farmer in the area. Eventually, Crane is run out of town by the appearance of an evidently headless man on a horse, a legendary figure in the apparently ghost-addled area. After this encounter, Crane is never seen by the townsfolk again, leading to a legend that he himself was spirited away by supernatural means, although the most likely case is that his headless attacker was a disguised Brom.

A Very Close Shave

Film: Sweeney Todd: The Demon Barber of Fleet Street
Format: DVD from personal collection on laptop.

I’ve been in a horror movie mood lately. That’s not hugely shocking, since horror ranks as one of my favorite genres. I’ve had a copy of Sweeney Todd: The Demon Barber of Fleet Street sitting on my desk for more than a year and I haven’t been able to watch it. For as much as I love a good horror movie, I have a real issue with throat slitting. That just about more than anything else bothers me, and since that is the mode of execution in this film, well, you can understand my reticence.

Honestly, the fact that it’s a musical didn’t bother me at all. I’ve grown far more accustomed to musicals over the last six years and I don’t shy away from them as I would have just half a decade ago. Nope, it’s the throat slitting. I’m not sure what it is. Chop someone’s head off in a film, and I’m fine. Slit someone’s throat and I get immediately squeamish.

Necrophilia?

Film: Corpse Bride
Format: DVD from personal collection on laptop.

I first saw Corpse Bride in what could not have been better circumstances. The local theater ran it as a double feature with The Nightmare Before Christmas, which made for a great double bill. In retrospect, I think less of Corpse Bride now than I did 10 years ago. There’s quite a bit to like in this film, but it has a massive flaw that prevents me from liking it as much as I want to.

Corpse Bride in a way feels like the culmination of many of Burton’s themes. There are elements of Beetlejuice, Edward Scissorhands, and Sleepy Hollow in this film, and I like two of those movies pretty well. It also has the look and animation style of The Nightmare Before Christmas, which Burton produced (and is frequently credited with directing, although he didn’t). We start with a marriage of convenience. Young Victor Van Dort (Johnny Depp) has had his marriage to Victoria Everglot (Emily Watson) arranged by his parents. This is an important move for both families. The Van Dorts are nouveau riche fishmongers looking to move up on the social ladder. The Everglots are aristocracy rich in land and tradition but poor in cash. The wedding, then, will give both families something that they either desperately want or desperately need.

Homage

Film: Frankenweenie
Format: DVD from Rockford Public Library on laptop.

Film nerds have their pet directors. There are Christopher Nolan nerds who will forgive him any sins (like The Prestige, yes, I know I’m in the minority on that) until he does something so terrible that it’s not worth defending. Quentin Tarantino is another director who has a legion of fans who will watch anything he produces. Back in the late 1980s and through the 1990s, the film director that nerds tended to choose to geek over was Tim Burton, a love affair that lasted until Burton’s wretched remake of Planet of the Apes. Anyway, back in those dark days, anyone who knew Burton also knew that one of his first projects was a short film called Frankenweenie about a boy who brings his dog back from the dead a la Mary Shelley’s story. So when an animated version of the story headed by Burton was announced, it was evident that this would be a labor of love.

And that is the basic story here. Young Victor Frankenstein (Charlie Tahan) is something of a social outcast in school, but he seems perfectly happy working on weird projects and making home movies with his dog, Sparky. When the school science fair comes around, he wants to participate, but his father (Martin Short) cuts a deal. Victor can participate in the science fair if he also plays baseball. Given no other options, Victor agrees. Tragically, in his first at-bat, Victor cranks a home run and Sparky runs after the ball, only to be killed when he runs into the street.

Cut from a Different Cloth

Film: Edward Scissorhands
Format: DVD from personal collection on laptop.

About half of the classes I teach are English composition. One of the problem areas many students have when it comes to writing a paper is writing a good conclusion. I tell them, because it’s true, that a good paper with a bad conclusion is like a good movie with a bad ending. When the ending punks out, it ruins the entire experience. Every time I talk about this with a class, the movie I have in mind is Edward Scissorhands. While melodramatic, this is a film that more than any other I can think of is Tim Burton at the height of his visionary powers. The fact that it muffs the landing makes it a complete tragedy. Because of this, I can think of at least three Burton films I’d have rather seen on the list: Beetlejuice, Ed Wood and Big Fish. If you press me, I’d rather watch Sleepy Hollow and Peewee’s Big Adventure, too.

That’s not easy to say because Edward Scissorhands has a lot going for it. When I call this the height of Burton’s vision, I mean that sincerely. The look of Edward Scissorhands is a bizarre combination of gothic and idealized Eisenhower America. It’s cute punk, the basic palette of Beetlejuice with an overlay of pastel blues and pinks. It shouldn’t work, but it does almost in spite of itself.

Two in Every Deck

Films: Batman, The Dark Knight
Format: VHS from personal collection (Batman), DVD from Rasmussen College Library (The Dark Knight), both on big ol’ television.

Ever since Adam West donned a cowl and tights, Batman has had a problem with camp. The original Batman television series was fun, silly, and campy—deliberately so. It couldn’t be taken seriously because it didn’t take itself seriously. Because of this, when the character first came to the big screen, there were some very large hurdles to overcome.

To be honest, Tim Burton didn’t overcome all of those hurdles. There’s plenty of Batman that begs to be taken seriously, but much cannot be, and a lot of this comes from the art direction of the film. It’s impossible to take Gotham City as a real place because it seems to exist in no real time period. The technology is all real and modern, but the look is something from an idealized 1930s or thereabout. Criminals all dress like Dick Tracy villains, for instance. The city is an art deco wonderland of massive architecture and sculptures. There’s no way to tell when this film might take place—Gotham exists in a bizarre twilight zone of old cars and modern technology. The architecture of the city is schizo-gothic, all gargoyles and giant evil machinery.

Chances are that you’ve already seen this film, but on the off chance you haven’t, Batman covers the origin of the superhero character and then his battle with the insidious Joker. The Batman is the alternate identity of billionaire playboy Bruce Wayne (Michael Keaton), who witnessed his parents being murdered when he was a child. In response, he became a creature of terror designed to frighten the criminal element.

We also get a mob war started by Jack Napier (Jack Nicholson), who works for crime boss Carl Grissom (Jack Palance). What Grissom doesn’t know is that Jack is two-timing him with Grissom’s girlfriend Alicia (Jerry Hall). Grissom takes revenge by setting Jack up at a heist in a chemical plant. During the course of the raid and the attempt to kill or capture Napier, Batman shows up and dumps him into a vat of chemicals (mirroring the origin story from the graphic novel The Killing Joke). Napier survives, becoming the Joker thanks to the extreme physical damage from the toxic sludge.

Throw into this a reporter named Knox (Robert Wuhl) and a photographer named Vicki Vale (Kim Bassinger). Both want to break the story on the Batman. Vale also manages to start a relationship with Bruce Wayne, who, thanks to his extracurricular activities as a dude in a cowl and cape, behaves very oddly.

In addition to the campiness, the film has some very strange issues. These are best handled under a spoiler warning, just in case you’re under 16 or live under a rock.

*** UTILITY BELT OF SPOILERS ***

The biggest break with reality for me here is not the Joker’s face or the weird, campy elements of the film. I can accept those for what they are. What I have trouble with is Alfred (Michael Gough) bringing Vicki Vale into the Batcave while Bruce Wayne is sitting at his computer. Why the hell would Alfred blow Batman’s biggest secret, and do so with a journalist? Even more, once the two have a chance to talk, her reaction is to ask if they are going to try to continue a real relationship. Any human being in that situation would spend at least five minutes screaming, “Holy shit! You’re Batman!”

Another thing is this—at the end of the film, Batman and Vicki Vale are hanging off the roof of a building while the Joker dances above them like a madman. Anyone with even a little Batman knowledge—like the first 100 minutes of this film—knows enough to realize no one is in danger. He’s friggin’ Batman, and he falls off roofs all the time.

*** BATARANGS BACK ON THE BELT ***

There are things I like here. The Joker’s main henchman, Bob (Tracey Walter) is great. He doesn’t do much and doesn’t have a lot of lines, but he’s fun to have on screen as a sort of constant presence. I also really like Michael Keaton in this role. There have been, in the movies, four distinct takes on the Batman/Bruce Wayne character. The current is the guttural and vicious version paired with the savvy playboy in the franchise reboot. Keaton’s Batman is good in a fight, but far less the unstoppable warrior. His take on Bruce Wayne is more interesting. As Wayne, Keaton comes off as a dilettante, a man with too much money and not enough sense or much ability to control that much cash. It’s an interesting idea for the character, and a good one.

Jack Nicholson as the Joker steals every scene he is in, which should come as no surprise. Part of the reason, if not the entire reason for casting him in the role is what he brings to it. Nicholson plays the Joker as a completely unhinged, surreal criminal. He’s Dadaism with legs and a purple coat.

The biggest complaint I have, though, is that for an action movie that really depends on the quality of the stunts and the fights, most of the fights are so dark that it’s impossible to tell what is happening. Someone should have informed Burton that more light in the fight sequences helps the audience to understand what is going on.

The rebooted Batman franchise brought us the fifth actor to legitimately play the role (Adam West, Michael Keaton, Val Kilmer, George Clooney, and now Christian Bale, assuming that you accept Adam West’s and George Clooney’s portrayals as “legitimate”). This is a much different incarnation of the Caped Crusader than the earlier versions.

The origin of this version of Batman is covered in Batman Begins, so we don’t rehash it here, which I appreciate. I get tired of watching origin stories over and over, so I’m pleased that there wasn’t one in this film. Additionally, in an interesting choice, there’s no origin story for the Joker (Heath Ledger) in this film. He simply exists. This is a very different Joker than in the first film. This one is not a guy freakishly burned by chemicals, but a man with terrible facial scars in the shape of a huge grin. The Joker makeup is obviously makeup, designed to look as if he’d been wearing it for a couple of days. It’s a great effect. He comes from nowhere, has no history, and no real story other than his own insanity. He gives two versions of how he got the scars, and neither one is likely to be the truth.

The Joker starts the film with a bank heist, and then takes on the Mob, offering to kill Batman for half of their money. They sort of accept, mostly because of the influence of Salvatore Maroni (Eric Roberts), and all hell breaks loose.

The Joker here calls himself an agent of chaos, and that’s what he is. There’s nothing he does here that makes a lot of sense except as a way to create anarchy, but it works well. Ledger’s performance is one of the great performances in film in the last 10 years, and arguably the greatest comic book film performance ever. He’s horribly disturbing, and it’s great to watch.

Another plus here is that all of the cast from the original film returned with one exception. This means Michael Caine as Alfred, Morgan Freeman as Lucius Fox, and Gary Oldman as Jim Gordon. This time we get Maggie Gyllenhaal as Rachael Dawes (instead of Katie Holmes). We also get Aaron Eckhart as Harvey Dent. All good.

All of this is great, but there are some issues here. For one thing, I disagreed with the PG-13 rating. I’m not sure the film deserves an R, but I can’t think of a 13-year-old I’d let see it. The Joker is really scary, and when Harvey Dent becomes Two-Face, his burns are absolutely horrifying. They’re nightmare-inducing.

Frankly, I like Batman Begins better.

The obvious question here is which of the two Joker adaptations is better. I prefer Ledger’s performance. It comes closer to the darker version of the Joker I prefer, and it feels very much like it’s entirely a unique vision—there is precedent for the way Nicholson performed the role, but Ledger’s version is its own thing.

As far as it goes, I understand why The Dark Knight was selected to be in the book. I’m not so sure about Burton’s Batman except possibly for the art direction. There are better superhero movies out there that should be included before it. Iron Man, Hellboy, Spider-Man, Spider-Man 2, and V for Vendetta are all better films, and all worthy of watching. Then again, I didn’t make the list, did I?

Why to watch Batman: Jack Nicholson.
Why not to watch: Camp overload.

Why to watch The Dark Knight: Batman the way he should be, and the Joker played to perfection.
Why not to watch: “Dark” describes more than just the superhero in this film.