Ice Spy
"Gosh, Batman. That's sure great wit all right."
Only in Batman would the above quote relate to gentle taking the piss out of Rabelais and his supposed great wit. I suspect some long-held pedagogical grudge on the part of writer Charles Hoffman.
Overall, though, this is a perfectly decent couple of episodes that has more than its share of funny moments but never really stands out. Eli Wallach gives a perfectly good performance but I think the character of Mr Freeze, on his third actor now, has outstayed his welcome somewhat. If they carry on like that they'll be casting some random Austrian bodybuilder next.
The plot is delightfully silly- use a fake iceberg to hijack a cruise ship and hijack an Icelandic professor with some formula or other. There's a glamorous moll, of course. There's a moderately interesting death trap. But the highlight of the episode, and comic highlight from the splendid Adam West, is where Gordon and O'Hara hold two phones together so Batman and Bruce Wayne can hold a conversation. It's not the first time I've said it, but being a comic straight man requires enormous talent, and West has it in spades.
Oh, and what's this window cameo from the "Carpet King"? Who he?
The Duo Defy
"A true crime fighter always carries everything he needs in his utility belt, Robin"
This second episode is just a little by-the-numbers, with a more than usually rubbish cliffhanger resolution and an ending that feels rushed, but we get more dialogue heralding the imminent arrival of Barbara Gordon, and enough wit and fun to make up for the so-so plot and mildly rubbish villain. No wonder we won't see Mr Freeze again.
The stakes, and ransom demands, are absurdly and wonderfully high. There's a nice moment in the Batcopter with the usual piece of stock footage where Robin says he can't track the bugged seal below, and Batman gently reminds him that the seal is in fact a marine mammal. We even get a slight reprise of the same Rabelais quote.
Overall, then, an average and representative story, not inappropriate to end the second season, which has had both highs and lows but notably more of the former.
A quick diversion while I blog something else (something short) over the next few days, then Season Three...
Showing posts with label Leslie Parrish. Show all posts
Showing posts with label Leslie Parrish. Show all posts
Sunday, 3 May 2020
Monday, 20 January 2020
Batman: Fine Feathered Finks & The Penguin's a Jinx
Fine Feathered Finks
"That pompous waddling master of fowl play..."
After the first two-parter we petty much know the format and it happens here for a second time- the intriguing opening followed by Gotham's police admitting they're unable to deal with this week's villain- the Penguin- leading to the Commissioner striding purposely towards the Batphone with another inspiring speech about how awesome Batman is.
We turn to a frustrated Dick, about to give in with his French verbs until Bruce rebukes him that "Language is the key to world peace". And it's in his deadpan delivery of such splendidly over-the-top goody goody talk that Adam West, already, is showing himself to be a legend. And Burt Ward, while nowhere near as extraordinary, is perfectly cast. It's incredible how much this series arrives so fully-formed in these early episodes.
Lorenzo Semple Jr deserves credit, too, for his hilariously deadpan script- based, as was last week's two parter, on a recent comics story, for this is a far more faithful adaptation of the mid-'60s comics than you think. And, after the sock footage of the Batmobile and the Caped Crusaders running up those police station steps. Here we discover the Penguin has just been released from prison- allowing Batman and his police friend to note with approval the "progressive" policies of Warden Crichton, and when Robin expresses frustration that such an unreformed miscreant has been let loose, he is naturally rebuked. Quite right too.
The Penguin is first glimpsed in his cell as we get to see the charismatic performance of Burgess Meredith- his performance is more mannered and less suggestive of hidden depths that Frank Gorshin's Riddler, but the mannerisms of his larger than life Penguin are inspired. This is the definitive portrayal of a character that always was, let's face it, very silly indeed. And let us not enquire too closely into how a recently freed felon can afford to open an apparently legitimate umbrella factory.
Incidentally, Penguin refers to "the Batman", with a definitive article. This is surprising to encounter in 1966.
Little moments of silliness abound, such as the Batmobile's "emergency Bat-turn lever", while a bunch of exploding umbrellas are covered with asbestos in a crowded shop, bursting holes in it and presumably giving asbestosis to all present.
The cliffhanger is Bruce Wayne, unconscious, slowly moving into a furnace. Of course, none of the Penguin's gang suspect he's anything but an industrial spy, one of the gang lamenting "Ain't it a shame it ain't the Batman."
The Penguin's a Jinx
"What a drag it is being a famous movie star, and so rich!"
You have to give credit for it: this is a perfect example of a clever and satisfying cliffhanger resolution that really builds up the tension and doesn't cheat. And the Penguin's plan of bugging Batman in order to get ideas for crimes is so much fun we almost forget how very silly it is.
The high camp runs into overdrive with the appearance of movie star Dawn Robbins, lamenting how boring and dehumanising it is to be rich and famous. One could make a point about the objectification of women here, if one so desired, but I don't think this script is much interested in social commentary of more than the amused kind- perhaps a little conservative by default, but good-natured enough.
It's odd to see the Penguin using umbrellas to slide across the line in his kidnapping plot which don't use the handle to slide with, but he has a giant magnet and the Dynamic Duo (was that phrase invented by this series?) are hoist by their own utility belts.
Soon we get the inevitable concluding bout of fisticuffs, though, and all is safe again. But, alas, poor Dawn Robbins is consumed with an unrequited love.
This is such a pleasure to watch. I'm loving it.
"That pompous waddling master of fowl play..."
After the first two-parter we petty much know the format and it happens here for a second time- the intriguing opening followed by Gotham's police admitting they're unable to deal with this week's villain- the Penguin- leading to the Commissioner striding purposely towards the Batphone with another inspiring speech about how awesome Batman is.
We turn to a frustrated Dick, about to give in with his French verbs until Bruce rebukes him that "Language is the key to world peace". And it's in his deadpan delivery of such splendidly over-the-top goody goody talk that Adam West, already, is showing himself to be a legend. And Burt Ward, while nowhere near as extraordinary, is perfectly cast. It's incredible how much this series arrives so fully-formed in these early episodes.
Lorenzo Semple Jr deserves credit, too, for his hilariously deadpan script- based, as was last week's two parter, on a recent comics story, for this is a far more faithful adaptation of the mid-'60s comics than you think. And, after the sock footage of the Batmobile and the Caped Crusaders running up those police station steps. Here we discover the Penguin has just been released from prison- allowing Batman and his police friend to note with approval the "progressive" policies of Warden Crichton, and when Robin expresses frustration that such an unreformed miscreant has been let loose, he is naturally rebuked. Quite right too.
The Penguin is first glimpsed in his cell as we get to see the charismatic performance of Burgess Meredith- his performance is more mannered and less suggestive of hidden depths that Frank Gorshin's Riddler, but the mannerisms of his larger than life Penguin are inspired. This is the definitive portrayal of a character that always was, let's face it, very silly indeed. And let us not enquire too closely into how a recently freed felon can afford to open an apparently legitimate umbrella factory.
Incidentally, Penguin refers to "the Batman", with a definitive article. This is surprising to encounter in 1966.
Little moments of silliness abound, such as the Batmobile's "emergency Bat-turn lever", while a bunch of exploding umbrellas are covered with asbestos in a crowded shop, bursting holes in it and presumably giving asbestosis to all present.
The cliffhanger is Bruce Wayne, unconscious, slowly moving into a furnace. Of course, none of the Penguin's gang suspect he's anything but an industrial spy, one of the gang lamenting "Ain't it a shame it ain't the Batman."
The Penguin's a Jinx
"What a drag it is being a famous movie star, and so rich!"
You have to give credit for it: this is a perfect example of a clever and satisfying cliffhanger resolution that really builds up the tension and doesn't cheat. And the Penguin's plan of bugging Batman in order to get ideas for crimes is so much fun we almost forget how very silly it is.
The high camp runs into overdrive with the appearance of movie star Dawn Robbins, lamenting how boring and dehumanising it is to be rich and famous. One could make a point about the objectification of women here, if one so desired, but I don't think this script is much interested in social commentary of more than the amused kind- perhaps a little conservative by default, but good-natured enough.
It's odd to see the Penguin using umbrellas to slide across the line in his kidnapping plot which don't use the handle to slide with, but he has a giant magnet and the Dynamic Duo (was that phrase invented by this series?) are hoist by their own utility belts.
Soon we get the inevitable concluding bout of fisticuffs, though, and all is safe again. But, alas, poor Dawn Robbins is consumed with an unrequited love.
This is such a pleasure to watch. I'm loving it.
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