August Review: Batman & Robin (1997) (Patreon)

Few movies are do daring, so brave and so bold as to ask, "How many ice puns can we get away with making?" Luckily for those who ponder the same question, there's Batman & Robin (1997), the Clooney follow-up to Keaton's run as the World's Greatest Detective.

Batman & Robin (1997) is much maligned for it's over-the-top, goofy approach to a now popularly serious character, but as a long-time fan of Adam West's take on the character, I think that thematic silliness is masking a much more competent callback to a classic version of the Batman. Adam West and Burt Ward brought a Batman and Robin willing to crack wise against a slew of incredibly well-coordinated villains. In subsequent Bats, notably Keaton's, there was a push towards more a noir-inspired subtlety. This grittiness has come to be synonymous with Batman in our modern lexicon, just take a look at Battinson's high contrast, shadowy Gotham and realistic, layered armor. Batman & Robin (1997) rebels against its predecessor, instead attempting to wrestle the character back to its 60s roots. The return of themed goons, over-the-top gadgets emblazoned with bats, and enough costume changes to fill any femme fatale's wardrobe harken back to the campy West days. It isn't a flawless execution, there are still signs of Keaton's Gotham populating the background, and a 90s sensibility that occasionally overshadows the 60s sincerity, but I can't bring myself to hate the honest attempt lovingly honor a character's history. If you let yourself go along for the ride, you can ride the Batmobile right off an conspicuously sized statue and right on to the rooftop of enjoyment.

But let's break it down a bit, what works and what doesn't? Working is the cast. George Clooney and Chris O'Donnell star as the titular Batman and Robin. Clooney has big footprints to fill, following Keaton's popular Bats, and while he may not be as "nuts" as his predecessor, he manages to pull off a personable Bruce Wayne. The real standouts though are the villains. Mr. Freeze (Arnold Schwarzenegger) and Poison Ivy (Uma Thurman) are over-the-top, reveling in their villainy cracking puns and cackling in the face of their foes. You can feel how much fun they're having with every over-dramatic entrance, every one-liner, and every costume change. Also notable is Alfred (Michael Gough), reprising his role and proving that even before this film establishes the butler as the heart of the Bat-fam, Gough has been holding the franchise together. Joining them is Alicia Silverstone as Batgirl, and while a welcome addition, she has less to do than her established counterparts.

Less successful is the pacing. While the film has some stand-out moments and isn't too hard to follow, there is a certain drag around the middle where the speed of the plot and the speed the audience puts clues together are mismatched. You end up wishing Batman and Robin could hurry up, put aside their differences, and get Alfred that cure already! This pacing issue also indicates a weakness of the story. It's memorable enough, centering the plot around love, both of Freeze's wife and Alfred holds it together, but the Bat-stuff, the comic book heroism of it all, it's a loosely held together construction of cool set pieces interrupted by the arguing Batman and Robin.

Harder to place is the production design. It largely embraces a colorful camp that I personally love. Uma Thurman has a new, iconic look every scene, there are silly touches like Bane's just-barely-a-costume when in disguise, gangs of neon punks, or the ice cream factory hideout of Mr. Freeze. As fun as these sensibilities are, there is also an internal conflict as the film wrestles with the previous entries, specifically Keaton's, and how to be visually linked while doing their own thing. This conflict is most evident in Gotham. Watching Batman & Robin (1997) you can see the bones of the grungy, deco Gotham Keaton defended, but in order to keep it in line with the larger-than-life sensibilities they've opted to keep the lighting and art deco, but also lost all sense of livability. Sure, they have an observatory, but good luck finding an apartment in Clooney's Gotham.

Overall, Batman & Robin (1997) gives back what you offer it. Go in ready for a fun ride and enjoy the bright colors, big performances, and loving details and you'll have a wonderful time. But if you prefer a gritty, serious Bats, this isn't the caped crusader for you. Luckily for us, we live in a world with so many Batmen, that no matter where on the camp spectrum you prefer your protector of Gotham, there's a version out there for you. Just flash the Batsignal and wait.

6 out of 10 grappling hooks