"Batgirl, Batgirl Batgirl, Batgirl
Where do you come from? Where do you go?
What is your scene, baby? Yeah, we just gotta know
Batgirl, Batgirl Batgirl, Batgirl
Are you a chick who fell in from outer space?
Or are you real with a tender warm embrace?
Yeah, whose baby are you? Batgirl, whose baby are you? Batgirl..."
It's becoming increasingly clear that this season there's not so much money sloshing around (Siren's hideout is so very cheap!) and that the need to accommodate an extra character in Batgirl where there’s only a single episode lasting twenty-four minutes to play with has, we, not exactly improved the show. Nor is the show’s signature wit much in evidence: this could be a kids’ cartoon. It’s enjoyable enough but I’m hoping the third season has more in store than we’ve seen so far.
That said, though, this episode is an improvement, cartoonish though it is. A shockingly young Joan Collins is sexy and charismatic as the Siren. Barbara Gordon is still talking to her parrot as a neat little exposition device. And... yeah, that Batgirl song- the lyrics absolutely had to be the quote. It’s mad, it fully embraces both its silliness and its sixtiesness, and I love it. How could I not? We also get a line where Batman refuses a soft drink on the grounds it could be “too relaxing”, and the hilarious concept at the end of Siren singing an “antidote note” on the mesmerised Bruce.
Still, I'm a little alarmed at this point. This episode is fun, yes, but it’s a simple cartoon type show, and that's how the season seems to be going. Batman has seemingly moved from high camp to low camp. Surely this can’t continue?
Showing posts with label Joan Collins. Show all posts
Showing posts with label Joan Collins. Show all posts
Wednesday, 27 May 2020
Tuesday, 26 May 2020
Batman: Ring Around the Riddler
"Returned to tease, taunt and torment us again..."
This second episode, it has to be said, with its reentlessly studio-boubd scenes, is where the budget cuts really start to show. It's also becoming clear how difficult it is, especially with a third semi-lead, to tell a story in twenty-four minutes, much as I admire some of the economy of storytelling here- as we begin with Batgirl ringing the Commissioner (her father!), who rings Alfred, who in turn summons the Caped Crusaders, with the entire montage done in silence.
The story is a fairly low-stakes tale of the Riddler getting in on the act in the boxing tacket, getting prize-fighters to throw fights. That's it. Despite the sheer number of riddles, the character hardly gets seen at his most memorable- but all is forgiven, because the prodigal Frank Gorshin is back, after taking a whole season off for mysterious reasons. He is, of course, magnificent, and there will never be a better Riddler. But it's sad that Gorshin's (and the Riddler's) time on the show should end with such a whimper. This third season will contain a lot of sad "lasts".
The episode has some lovely touches- I love Barbara Gordon's relationship with her doting father, and how she has a parrot to talk to, cleverly allowing the character to talk to herself. It's also nice that we get such an extended preview of Joan Collins as the Siren. But ultimately, if it were not Frank Gorshin'slast appearance, this would be a forgotten episode.
This second episode, it has to be said, with its reentlessly studio-boubd scenes, is where the budget cuts really start to show. It's also becoming clear how difficult it is, especially with a third semi-lead, to tell a story in twenty-four minutes, much as I admire some of the economy of storytelling here- as we begin with Batgirl ringing the Commissioner (her father!), who rings Alfred, who in turn summons the Caped Crusaders, with the entire montage done in silence.
The story is a fairly low-stakes tale of the Riddler getting in on the act in the boxing tacket, getting prize-fighters to throw fights. That's it. Despite the sheer number of riddles, the character hardly gets seen at his most memorable- but all is forgiven, because the prodigal Frank Gorshin is back, after taking a whole season off for mysterious reasons. He is, of course, magnificent, and there will never be a better Riddler. But it's sad that Gorshin's (and the Riddler's) time on the show should end with such a whimper. This third season will contain a lot of sad "lasts".
The episode has some lovely touches- I love Barbara Gordon's relationship with her doting father, and how she has a parrot to talk to, cleverly allowing the character to talk to herself. It's also nice that we get such an extended preview of Joan Collins as the Siren. But ultimately, if it were not Frank Gorshin'slast appearance, this would be a forgotten episode.
Saturday, 14 July 2018
Tales from the Crypt (1972)
"Who's next? Perhaps... you?"
At last I get to see a proper Amicus portmanteau film; I’ve been meaning to for ages. And this one certainly doesn’t disappoint. The format means the film never flags, and the top notch cast and direction make for a superbly unsettling experience.
I’ve never read any of the EC comics upon this was based (although I certainly do know that Dr Fredric Wertham smelled of poo, and was a quack to boot) but I get a distinct impression of the lurid style here, and highly entertaining here. The framing device is simple; a bunch of tourists get lost in a crypt and accosted by a sinister monk, who speaks with the actorly tones of none other than Ralph Richardson, who is having enormous fun here. We hear their sinister stories one by one until the conclusion gives us a delightful twist.
All of the stories are compelling, although some more than others, and there are standout performances from the likes of Peter Cushing in one of his best roles, but the segments are carried well by the likes of Joan Collins, Ian Hendry and an unrecognisable Richard Greene, too old for Sherwood Forest. There are powerful moments- the Balentine’s Card scene is heartbreaking- and the comeuppance of the mean major by the blind men he’s been mistreating is glorious. I’m not sure it’s an obvious leap from EC Comics to a film directed by Freddie Francis and crammed with British character actors, but it really works.
I’ve never read any of the EC comics upon this was based (although I certainly do know that Dr Fredric Wertham smelled of poo, and was a quack to boot) but I get a distinct impression of the lurid style here, and highly entertaining here. The framing device is simple; a bunch of tourists get lost in a crypt and accosted by a sinister monk, who speaks with the actorly tones of none other than Ralph Richardson, who is having enormous fun here. We hear their sinister stories one by one until the conclusion gives us a delightful twist.
All of the stories are compelling, although some more than others, and there are standout performances from the likes of Peter Cushing in one of his best roles, but the segments are carried well by the likes of Joan Collins, Ian Hendry and an unrecognisable Richard Greene, too old for Sherwood Forest. There are powerful moments- the Balentine’s Card scene is heartbreaking- and the comeuppance of the mean major by the blind men he’s been mistreating is glorious. I’m not sure it’s an obvious leap from EC Comics to a film directed by Freddie Francis and crammed with British character actors, but it really works.
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