"A Batfight seldom takes more than forty seconds, and they're already half an hour late."
Now this is more like it. It will never be one of my all-time favourites, it's extremely cheap-looking, and all the ersatz "arch-criminals" are both underused to the point of undermining the characters and far too easily defeated, but the wit and the fun are back.
We first meet alchemist Dr Cassandra and her sidekick husband Cabala (both played by minor Hollywood stars) as they use invisibility to rob a bank that's "so conservative it pays no interest at all", and the silliness remains at that level- right to the point of a gun that turns our Terrific Trio into two-dimesnsional beings, aka cardboard cutouts. This is splendidly silly, and results in Batgirl being introduced to the Batcave.
The misuse of the arch-criminals is unnecessary and jarring, although I love that Gotham Prison has an "arch-criminals' wing". And the Batfight in total darkness is hilarious. After last episode's disaster, the series may well be regaining its mojo just before the last ever episode...
Showing posts with label Stanley Ralph Ross. Show all posts
Showing posts with label Stanley Ralph Ross. Show all posts
Thursday, 13 August 2020
Monday, 10 August 2020
Batman: I'll Be a Mummy's Uncle
"I'll build an indestructible empire that no one will be able to destruct!"
Every episode of this last run is the last gasp of something or someone that we will miss. This time it's King Tut making his last appearance, in a triumph of an episode crammed with magnificent one liners. Yes, Stanley Ralph Ross is on writing duties again.
This is twenty-four minutes of pure fun. It's nonsense, of course: Tut's plan is to acquire land next to Wayne Manor and then drill sideways in order to grab some priceless "Nilanium", accidentally hitting the Batcave after which farce ensues. The Aswan Dam, still under construction in 1968, gets a topical mention. And, although Bargirl is sidelined somewhat, this is a splendid bit of storytelling, filling the time available to perfection.
We even get a delightful scene in which Barbara, as Batgirl, rings Batman, as Bruce Wayne. The Dynamic Duo casually run a three minute and then a two minute mile. And, of course, Victor Buono is comic gold as ever. Tut will be missed. And we're so very close to the end now...
Every episode of this last run is the last gasp of something or someone that we will miss. This time it's King Tut making his last appearance, in a triumph of an episode crammed with magnificent one liners. Yes, Stanley Ralph Ross is on writing duties again.
This is twenty-four minutes of pure fun. It's nonsense, of course: Tut's plan is to acquire land next to Wayne Manor and then drill sideways in order to grab some priceless "Nilanium", accidentally hitting the Batcave after which farce ensues. The Aswan Dam, still under construction in 1968, gets a topical mention. And, although Bargirl is sidelined somewhat, this is a splendid bit of storytelling, filling the time available to perfection.
We even get a delightful scene in which Barbara, as Batgirl, rings Batman, as Bruce Wayne. The Dynamic Duo casually run a three minute and then a two minute mile. And, of course, Victor Buono is comic gold as ever. Tut will be missed. And we're so very close to the end now...
Sunday, 9 August 2020
Batman: The Great Train Robbery
"You cheated! You know we ain't no good in a fair fight!"
Just to recap, before I discuss this splendid episode... I've seen the first season as a young adult, some parts more than once, albeit more than twenty years ago. But, although I've seen many, but by no means all, of the second and third season, we're looking at childhood memories, so watching certain episodes can lead to a completely unexpected wave of nostalgia. That's what happened tonight where Chief Standing Pat, the episode's totally non-problematic Native American character, spoke of a time "when little hand is on eleven, and big hand is on twelve." I remember this line from having seen it once, as a child of about ten, in about 1987. That's weird.
Stanley Ralph Ross has a knack for superb scripts, and this is his best. Shame (and the institution f the two parter) get the best of send-offs here, in a rare second episode that far exceeds the first. Not even the dodgy accent of Hermione Baddesley as (snigger) Frontier Fanny can take away from it.
We have a splendid deconstruction of Western tropes here, with a train robbery and ending with a shootout at High Noon and "a man's gotta do what a man's gotta do". All the characters know full well what genre they're in. The wit of this script is a joy. And Cliff Robertson is superb; Shane hasn't really appeaed that much but there's a reason why the character is so fondly remembered. And, while the third season may (we can now see) perhaps be the least good overall, it can still hit real heights.
Just to recap, before I discuss this splendid episode... I've seen the first season as a young adult, some parts more than once, albeit more than twenty years ago. But, although I've seen many, but by no means all, of the second and third season, we're looking at childhood memories, so watching certain episodes can lead to a completely unexpected wave of nostalgia. That's what happened tonight where Chief Standing Pat, the episode's totally non-problematic Native American character, spoke of a time "when little hand is on eleven, and big hand is on twelve." I remember this line from having seen it once, as a child of about ten, in about 1987. That's weird.
Stanley Ralph Ross has a knack for superb scripts, and this is his best. Shame (and the institution f the two parter) get the best of send-offs here, in a rare second episode that far exceeds the first. Not even the dodgy accent of Hermione Baddesley as (snigger) Frontier Fanny can take away from it.
We have a splendid deconstruction of Western tropes here, with a train robbery and ending with a shootout at High Noon and "a man's gotta do what a man's gotta do". All the characters know full well what genre they're in. The wit of this script is a joy. And Cliff Robertson is superb; Shane hasn't really appeaed that much but there's a reason why the character is so fondly remembered. And, while the third season may (we can now see) perhaps be the least good overall, it can still hit real heights.
Wednesday, 5 August 2020
Batman: The Great Escape
"They've got Batgirl, and we've got Fanny."
There are two things which are probably worh mentioning as I start to blog this episode. The first is that, in this final run of episodes with their many last times, this two parter is both the final appearance of Shame and, well, the last two parter.The other thing, no less importantly, is that Hermione Baddesley- the maid from Mary Poppins- is playing a character called (titter) Frontier Fanny.
This is a hilarious episode for many reasons, not least Shame's sidekicks: a Native American who communicates solely in shorthand smoke signals and a Mexican bandit with a cut glass RP accent, neither of which you would see today, but this kind of playfulness with stereotypes is not, I don't think, mean-spirited.
There's more, though, from the latest variation on the ever entertaining "Commissioner rings the Batphone with Bruce Wayne present" trope to Batman reading the note from Shame in Shame's own vernacular, reminding us that Adam West is a terrific comic actor. I've peraps been remiss, too, in my praise for the penmanship of Stanley Ralph Ross.
Still no cliffhanger, though, and this was the last chance...
There are two things which are probably worh mentioning as I start to blog this episode. The first is that, in this final run of episodes with their many last times, this two parter is both the final appearance of Shame and, well, the last two parter.The other thing, no less importantly, is that Hermione Baddesley- the maid from Mary Poppins- is playing a character called (titter) Frontier Fanny.
This is a hilarious episode for many reasons, not least Shame's sidekicks: a Native American who communicates solely in shorthand smoke signals and a Mexican bandit with a cut glass RP accent, neither of which you would see today, but this kind of playfulness with stereotypes is not, I don't think, mean-spirited.
There's more, though, from the latest variation on the ever entertaining "Commissioner rings the Batphone with Bruce Wayne present" trope to Batman reading the note from Shame in Shame's own vernacular, reminding us that Adam West is a terrific comic actor. I've peraps been remiss, too, in my praise for the penmanship of Stanley Ralph Ross.
Still no cliffhanger, though, and this was the last chance...
Tuesday, 21 July 2020
Batman: The Joke’s on Catwoman
“That’s the first time I ever
It’s our first episode of 1968- a less idealistic and more cynical year than ‘67, with rioting and body bags from Vietnam starting to edge out peace and love. And, right on cue, we have a cynical episode on corrupt justice as our heroes capture Catwoman and Joker halfway through and we spend the rest of the episode with a trial in front of a corrupt jury.
It is, of course, absurd to see Batman- not a lawyer- handling the prosecution, but this is Batman. The courtroom antics of Lucky Pierre are delightfully entertaining, and Batman even states at the end that he would have done well in politics. And, of course, on Pierre’s desk in his first scene is a prominent photo of Richard Nixon. A newer, more cynical and conservative age is coming. And perhaps that age will have no place for high camp fun.
And high camp fun aplenty there is here, much as the Joker is again playing second fiddle to Catwoman. There’s more fun flirting between Batgirl and the Caped Crusaders, and a hilariously quick usage of a French dictionary- although a genuine 18th century treasure map certainly wouldn’t be in metres...
Again we get some delightfully eccentric characters, from a pair of lighthouse keepers to a judge who joins in the final fight. This episode, and this two parter, is utterly bonkers. And wonderful.
It’s our first episode of 1968- a less idealistic and more cynical year than ‘67, with rioting and body bags from Vietnam starting to edge out peace and love. And, right on cue, we have a cynical episode on corrupt justice as our heroes capture Catwoman and Joker halfway through and we spend the rest of the episode with a trial in front of a corrupt jury.
It is, of course, absurd to see Batman- not a lawyer- handling the prosecution, but this is Batman. The courtroom antics of Lucky Pierre are delightfully entertaining, and Batman even states at the end that he would have done well in politics. And, of course, on Pierre’s desk in his first scene is a prominent photo of Richard Nixon. A newer, more cynical and conservative age is coming. And perhaps that age will have no place for high camp fun.
And high camp fun aplenty there is here, much as the Joker is again playing second fiddle to Catwoman. There’s more fun flirting between Batgirl and the Caped Crusaders, and a hilariously quick usage of a French dictionary- although a genuine 18th century treasure map certainly wouldn’t be in metres...
Again we get some delightfully eccentric characters, from a pair of lighthouse keepers to a judge who joins in the final fight. This episode, and this two parter, is utterly bonkers. And wonderful.
Thursday, 16 July 2020
Batman: The Funny Feline Felonies
"Karate isn't effective unless accompanied by yelling...!"
Now this is a good one and no mistake. And yes, it’s another Catwoman script from Stanley Ralph Ross, invariably a sign of quality. Without impugning Julie’s definitive status Earths Kitt is again superb, and while the Joker is very much playing second fiddle here he gets loads of great set pieces to balance it all out.
The show’s traditional fourth wall baiting humour is very much in evidence, with the first scene being Warden Crichton and Bruce confidently pronouncing the Joker a reformed man and fit for (very) early release. This goes as well as can be expected, with a hilarious “kidnapping” and a winning double act of villainy- Romero and Kitt have superb chemistry.
The plot- an old Seven Years War riddle leaving clues to a load of gunpowder to use for robbing a bank- is silly, of course. So is Batgirl’s rivalry with the Dynamic Duo, just to “outsmart men”. And our two victims here- a twentysomething music cartoon and a fashion designer from “Londinium”- are delightful grotesques. You can’t not love a script in which the Jokeg critiques an old riddle for its iambic pentameter. And, of course, Batgirl is late to the rescue because she’s obeyed the speed limits.
This is wonderful. More please.
Now this is a good one and no mistake. And yes, it’s another Catwoman script from Stanley Ralph Ross, invariably a sign of quality. Without impugning Julie’s definitive status Earths Kitt is again superb, and while the Joker is very much playing second fiddle here he gets loads of great set pieces to balance it all out.
The show’s traditional fourth wall baiting humour is very much in evidence, with the first scene being Warden Crichton and Bruce confidently pronouncing the Joker a reformed man and fit for (very) early release. This goes as well as can be expected, with a hilarious “kidnapping” and a winning double act of villainy- Romero and Kitt have superb chemistry.
The plot- an old Seven Years War riddle leaving clues to a load of gunpowder to use for robbing a bank- is silly, of course. So is Batgirl’s rivalry with the Dynamic Duo, just to “outsmart men”. And our two victims here- a twentysomething music cartoon and a fashion designer from “Londinium”- are delightful grotesques. You can’t not love a script in which the Jokeg critiques an old riddle for its iambic pentameter. And, of course, Batgirl is late to the rescue because she’s obeyed the speed limits.
This is wonderful. More please.
Sunday, 5 July 2020
Batman: Catwoman’s Dressed to Kill
“You better leave the crime fighting to the men!”
There is, of course, no doubt that the much-missed Julie Newmar is the definitive Catwoman. Bt that isn't to say I can't admire other portrayals, and Eartha Kitt's more aggressive version of the character here is excellent. If we can't have Julie, it's good to have an actress who has put her own stamp on the role. Sadly, though, I suspect the dropping of the sexual tension between Catwoman and batman is due to the pthetic racial politics of the time. Black lives, in 1967, were seen to matter very little.
Once again, though, a Catwoman episode is written by a Stanley Ralph Ross, and this is a good 'un. The programme's splendid high camp flavour is much in evidence, with much gentle skewering of sexist attitudes both within the fashion industry and beyond- the above quote is joined by many other over-the-top lines, and we have a delightful scene in which the Dynamic Duo refuse to enter a ladies' dressing room after Catwoman and her henchmen flee inside, and when forced to enter because Batgirl is in peril they close their eyes- all played dead straight by West and Ward. This is delightful.
We even have the main threat of the episode being Catwoman's plot to steal the priceless relic of a tiny European kingdom which could lead to war, and America therefore having to support said microstate for years; I rather suspect our scribe has seen The Mouse That Roared.
All this, and we get hippie Alfred. One of the finer recent episodes.
There is, of course, no doubt that the much-missed Julie Newmar is the definitive Catwoman. Bt that isn't to say I can't admire other portrayals, and Eartha Kitt's more aggressive version of the character here is excellent. If we can't have Julie, it's good to have an actress who has put her own stamp on the role. Sadly, though, I suspect the dropping of the sexual tension between Catwoman and batman is due to the pthetic racial politics of the time. Black lives, in 1967, were seen to matter very little.
Once again, though, a Catwoman episode is written by a Stanley Ralph Ross, and this is a good 'un. The programme's splendid high camp flavour is much in evidence, with much gentle skewering of sexist attitudes both within the fashion industry and beyond- the above quote is joined by many other over-the-top lines, and we have a delightful scene in which the Dynamic Duo refuse to enter a ladies' dressing room after Catwoman and her henchmen flee inside, and when forced to enter because Batgirl is in peril they close their eyes- all played dead straight by West and Ward. This is delightful.
We even have the main threat of the episode being Catwoman's plot to steal the priceless relic of a tiny European kingdom which could lead to war, and America therefore having to support said microstate for years; I rather suspect our scribe has seen The Mouse That Roared.
All this, and we get hippie Alfred. One of the finer recent episodes.
Sunday, 7 June 2020
Batman: The Unkindest Tut of All
"Luckily for us, she's an Egyptian bibliophile...
Oh. There I was, merrily criticising this season's poor start and diagnosing the single episodes as the cause, being far too rushed to demonstrate and of the high camp and winks at its own tropes that have always made Batman such a joy. So, naturally, the very next episode comes along and proves that it is indeed possible to squeeze lots and lots of high camp fun into twenty-four minutes.
It helps, of course, that Victor Buono is back as King Tut, this time posing as a soothsayer of crime as a successful plot to discover the location of the Batcave, and that Yvonne Craig, whether as Batgirl or Barbara Gordon, is showing herself to be every bit as good at deadpan, square humour as Adam West. But, essentially, the episode is a triumph because Stanley Ralph Ross' script simply sings.
Tut is back because he was "hit by a brick at a love in". There's a delightfully crowbarred-in reference to Alfie. Batman tries to ask Batgirl out on a date after she utters the sweet words "I was only doing my duty as a citizen". And many, many more, at last giving the whole regular cast some great material to work with so we can see yet again how well they deal with this kind of material.
So, yes- the new format can work. Let's have more episodes like this please.
Oh. There I was, merrily criticising this season's poor start and diagnosing the single episodes as the cause, being far too rushed to demonstrate and of the high camp and winks at its own tropes that have always made Batman such a joy. So, naturally, the very next episode comes along and proves that it is indeed possible to squeeze lots and lots of high camp fun into twenty-four minutes.
It helps, of course, that Victor Buono is back as King Tut, this time posing as a soothsayer of crime as a successful plot to discover the location of the Batcave, and that Yvonne Craig, whether as Batgirl or Barbara Gordon, is showing herself to be every bit as good at deadpan, square humour as Adam West. But, essentially, the episode is a triumph because Stanley Ralph Ross' script simply sings.
Tut is back because he was "hit by a brick at a love in". There's a delightfully crowbarred-in reference to Alfie. Batman tries to ask Batgirl out on a date after she utters the sweet words "I was only doing my duty as a citizen". And many, many more, at last giving the whole regular cast some great material to work with so we can see yet again how well they deal with this kind of material.
So, yes- the new format can work. Let's have more episodes like this please.
Wednesday, 27 May 2020
Batman: The Wail of the Siren
"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?
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?
Monday, 27 April 2020
Batman: King Tut's Coup & Batman's Waterloo
King Tut's Coup
"Friends, Romans, Eyptians, lend me your ears. I come to bury Batman, not to praise him."
This episode has the beat opening set-up scene ever. Our mild-mannered Egyptology professor is quizzing two new students on their enthusiasm for the subject, suspecting them of being American football players looking for an easy course, when they are both hit on the head and begin with "all halo Tut"... and then our prof is hit on the head and says "The gang's all here." Perfection.
The story that follows isn't quite up with the very best, but it's marvellous fun, with n Egyptian maked ball giving us a bit of a face early on as Tut kidnaps wealthy heiress Lisa Carson, dating Brude Wayne, as his bride, Cleopatra- and it's Lee Meriwether, in a different role. She's quite superb, much to the jealousy of that Janice Rand off of Star Trek. We even get an amusing window cameo from Suxy Knickerbocker, whoever she may be, calling Bruce Wayne "one of the hippies".
It's amusing how deliberately vague this programme is on Egyptian history, cheerfully making it up while never being less than accurate on Greek or Roman stuff, and we gloss over the fact that a pharaoh of the 13th century BC would see Cleo as a Greek interloper. But it's all hilarious, and even the cliffhanger is good.
Batman's Waterloo
"Man cannot live by crime fighting alone."
Yes, I know the cliffhanger is resolved in an absurd way- Batman holds his breath for an hour because he learned how to hold his breath from an Indian fakir. Just as eyebrow- raising is that it takes Tut the whole episode to heat the oil enough to boil Robin in it- and the boy wonder isn't in this much; behind the scenes stuff?
Interestingly, we get a random mention by the Commissioner of his young daughter Barbara. We get lots of plot over a ransom until our Caped Crusader arrives by Batbike to save the day. And Tut suddenly goes back to mild mannered prof again- I'd love it if it were to be revealed that the crafty professor was just putting it on.
We end with Bruce again dating Lisa until he invites her in for "milk and cookies" but he demurs because it's late, "almost 10.30". He explains he could never marry her but she continues plying him with cookies until he disappears behind the door for some, er, milk and cookies. Oo er.
"Friends, Romans, Eyptians, lend me your ears. I come to bury Batman, not to praise him."
This episode has the beat opening set-up scene ever. Our mild-mannered Egyptology professor is quizzing two new students on their enthusiasm for the subject, suspecting them of being American football players looking for an easy course, when they are both hit on the head and begin with "all halo Tut"... and then our prof is hit on the head and says "The gang's all here." Perfection.
The story that follows isn't quite up with the very best, but it's marvellous fun, with n Egyptian maked ball giving us a bit of a face early on as Tut kidnaps wealthy heiress Lisa Carson, dating Brude Wayne, as his bride, Cleopatra- and it's Lee Meriwether, in a different role. She's quite superb, much to the jealousy of that Janice Rand off of Star Trek. We even get an amusing window cameo from Suxy Knickerbocker, whoever she may be, calling Bruce Wayne "one of the hippies".
It's amusing how deliberately vague this programme is on Egyptian history, cheerfully making it up while never being less than accurate on Greek or Roman stuff, and we gloss over the fact that a pharaoh of the 13th century BC would see Cleo as a Greek interloper. But it's all hilarious, and even the cliffhanger is good.
Batman's Waterloo
"Man cannot live by crime fighting alone."
Yes, I know the cliffhanger is resolved in an absurd way- Batman holds his breath for an hour because he learned how to hold his breath from an Indian fakir. Just as eyebrow- raising is that it takes Tut the whole episode to heat the oil enough to boil Robin in it- and the boy wonder isn't in this much; behind the scenes stuff?
Interestingly, we get a random mention by the Commissioner of his young daughter Barbara. We get lots of plot over a ransom until our Caped Crusader arrives by Batbike to save the day. And Tut suddenly goes back to mild mannered prof again- I'd love it if it were to be revealed that the crafty professor was just putting it on.
We end with Bruce again dating Lisa until he invites her in for "milk and cookies" but he demurs because it's late, "almost 10.30". He explains he could never marry her but she continues plying him with cookies until he disappears behind the door for some, er, milk and cookies. Oo er.
Wednesday, 22 April 2020
Batman: Catwoman Goes to College & Batman Displays His Knowledge
Catwoman Goes to College
"I just heard there's to be a spontaneous demonstration in Chime Square tonight."
Terrible news: this is Julie Newmar's final appearance as Catwoman. This is, of course, devastating news. She is at once superb, sexy and a real mistress of comic timing- and has real, electric chemistry with Adam West. She will be missed.
This is a very 1967 episode, concerned with the new (for then) phenomenon of student protests, although of course there's certainly no political context here, no civil rights or Vietnam. Instead there's Catwoman who, although apparently dead, is being rather generously paroled from prison, and enrolling at uni to do, appropriately enough, criminology. Sadly, all the students- many of them suspiciously old- wear ridiculous uni garb.
It's an odd beginning- a Batan statue is stolen in a suspected student prank- but the plot matters not, here; quite rightly, we have set pieces designed to give Julie a fitting swansong, plus an amusing sequence in which "Captain Courageous", a cop transferred from California, arrests the framed Batman.
It's amusing to see the duo captured again by Catoman's feminine wiles, and a suitably acidic cliffhanger...
Batman Displays His Knowledge
"The way we get into these scrapes, and out of them- it's almost as though someone was dreaming up these situations."
The above line, from the Boy Wonder after the cliffhanger resolution, does splendid violence to the fourth wall. Not only is the author not dead as M. Barthes insists, he is God.
I note the students are spoken of only as "misguided" and potentially jeopardising their futures by protesting- there's no suggestion that democracies need a right to protest, not any consideration that the morals may depend on the cause. But this is prime time network television, and an episode where a French fence turns out to also be a fencer, because of course. Rhere's also the best farcical secret identity scene yet as Alfred types out slow responses from "Bruse Wayne" to the Commissioner.
But we end with the most sexually charged scene between Catwman and Batman yet, and that's saying something. Julie is amazing.
Goodbye, Julie. You're the best Catwoman ever and always will be. I'll miss you.
"I just heard there's to be a spontaneous demonstration in Chime Square tonight."
Terrible news: this is Julie Newmar's final appearance as Catwoman. This is, of course, devastating news. She is at once superb, sexy and a real mistress of comic timing- and has real, electric chemistry with Adam West. She will be missed.
This is a very 1967 episode, concerned with the new (for then) phenomenon of student protests, although of course there's certainly no political context here, no civil rights or Vietnam. Instead there's Catwoman who, although apparently dead, is being rather generously paroled from prison, and enrolling at uni to do, appropriately enough, criminology. Sadly, all the students- many of them suspiciously old- wear ridiculous uni garb.
It's an odd beginning- a Batan statue is stolen in a suspected student prank- but the plot matters not, here; quite rightly, we have set pieces designed to give Julie a fitting swansong, plus an amusing sequence in which "Captain Courageous", a cop transferred from California, arrests the framed Batman.
It's amusing to see the duo captured again by Catoman's feminine wiles, and a suitably acidic cliffhanger...
Batman Displays His Knowledge
"The way we get into these scrapes, and out of them- it's almost as though someone was dreaming up these situations."
The above line, from the Boy Wonder after the cliffhanger resolution, does splendid violence to the fourth wall. Not only is the author not dead as M. Barthes insists, he is God.
I note the students are spoken of only as "misguided" and potentially jeopardising their futures by protesting- there's no suggestion that democracies need a right to protest, not any consideration that the morals may depend on the cause. But this is prime time network television, and an episode where a French fence turns out to also be a fencer, because of course. Rhere's also the best farcical secret identity scene yet as Alfred types out slow responses from "Bruse Wayne" to the Commissioner.
But we end with the most sexually charged scene between Catwman and Batman yet, and that's saying something. Julie is amazing.
Goodbye, Julie. You're the best Catwoman ever and always will be. I'll miss you.
Monday, 13 April 2020
Batman: That Darn Catwoman & Scat, Darn Catwoman
That Darn Catwoman
"Chief O'Hara, had you ever seen this Titian-haired wench before?"
Every single episode we've had which featured both Julie Newmar as Catwoman and Stanley Ralph Ross as scriptwriter- a marriage made in Heaven- has been utterly terrific thus far. But with this two parter Batman hits heights it seldom reaches. I'm not one of those who likes to make lists f putative favourite episodes but, if I were, this two-parter would be very much in contention.
Curious, then, that this story is far from following the standard pattern. Not only is Catwoman’s accomplice Pussycat played by contemporary singer Lesley Gore, who even gets to perform pretty much two whole songs, crudely crowbarred in over both episodes, and deliberately so, but Robin is brainwashed in the very first scene and spends almost the whole story behaving like a juvenile delinquent from central casting. It’s not hard to see fear of the younger generation here, very prevalent in 1967, as previously goodie-goodie adolescents would suddenly start growing their hair, taking drugs, dropping out or, worse, questioning things like Jim Crow or the Vietnam War, which was really hitting up by this point. We therefore have a gloriously silly brace of episodes which nevertheless address some very real anxieties.
All this plus some truly excellent silly dialogue throughout the episode gives us something very special. So what if Catwoman is suddenly appearing a lot? At this point she’s the best name in Batman’s rogues gallery. It’s fun seeing a bridge to “New Guernsey” or the blatantly signposted Catlair.
Scat, Darn Catwoman
"One should always keep abreast of foreign tongues, Robin."
Even the cliffhanger is more interesting than usual- Batman must surrender or die, and seemingly surrenders. But I love how we’re allowed to see Batman taking a Batpill on a hilarious pretext shortly before he’s drugged- at no point are we expected to actually believe he’s under Catwoman’s spell; that’s part of the fun. And Adam West’s performance is at once fun, extraordinary and opens the door for some delightfully tense flirting.
Not that Burt Ward isn’t being excellent, of course, although Robin is soon captured and turned. And the final car chase and chase on foot between Catwoman and Batman is at once exciting and believably romantic, yet with tongue never being removed from cheek. And her apparent death at the end is both satisfyingly inconclusive (she will be back) and reassuring in that this is one car who should never be caged. Absolutely wonderful stuff.
"Chief O'Hara, had you ever seen this Titian-haired wench before?"
Every single episode we've had which featured both Julie Newmar as Catwoman and Stanley Ralph Ross as scriptwriter- a marriage made in Heaven- has been utterly terrific thus far. But with this two parter Batman hits heights it seldom reaches. I'm not one of those who likes to make lists f putative favourite episodes but, if I were, this two-parter would be very much in contention.
Curious, then, that this story is far from following the standard pattern. Not only is Catwoman’s accomplice Pussycat played by contemporary singer Lesley Gore, who even gets to perform pretty much two whole songs, crudely crowbarred in over both episodes, and deliberately so, but Robin is brainwashed in the very first scene and spends almost the whole story behaving like a juvenile delinquent from central casting. It’s not hard to see fear of the younger generation here, very prevalent in 1967, as previously goodie-goodie adolescents would suddenly start growing their hair, taking drugs, dropping out or, worse, questioning things like Jim Crow or the Vietnam War, which was really hitting up by this point. We therefore have a gloriously silly brace of episodes which nevertheless address some very real anxieties.
All this plus some truly excellent silly dialogue throughout the episode gives us something very special. So what if Catwoman is suddenly appearing a lot? At this point she’s the best name in Batman’s rogues gallery. It’s fun seeing a bridge to “New Guernsey” or the blatantly signposted Catlair.
Scat, Darn Catwoman
"One should always keep abreast of foreign tongues, Robin."
Even the cliffhanger is more interesting than usual- Batman must surrender or die, and seemingly surrenders. But I love how we’re allowed to see Batman taking a Batpill on a hilarious pretext shortly before he’s drugged- at no point are we expected to actually believe he’s under Catwoman’s spell; that’s part of the fun. And Adam West’s performance is at once fun, extraordinary and opens the door for some delightfully tense flirting.
Not that Burt Ward isn’t being excellent, of course, although Robin is soon captured and turned. And the final car chase and chase on foot between Catwoman and Batman is at once exciting and believably romantic, yet with tongue never being removed from cheek. And her apparent death at the end is both satisfyingly inconclusive (she will be back) and reassuring in that this is one car who should never be caged. Absolutely wonderful stuff.
Tuesday, 31 March 2020
Batman: The Cat's Meow & The Bat’s Kow Tow
The Cat’s Meow
“Oh, nonsense, Chief O’Hara. I know a reformed woman when I see one.”
Oh my. Catwoman is back, so let there be much rejoicing... and this two parter is utterly, spendidly bonkers, Let's just examine what it's about:
The Bat’s Kow Tow
“A bit on the groovy side, aren't they?"
The cliffhanger resolution- finding the right note to shatter the glass in the echo chamber- is hilarious. So is Catwoman's stealing Chad and Jeremy's voices to blackmail us in Blighty, on the grounds that they pay so much income tax our "Empire" would collapse, taking the world economy with it. Even funnier is Batman's lengthy explanation of the economic consequences if Catwoman stealing the voices of everybody in the whole world.
And then we have the British consulate, and the delightfully stereotypical Sir Sterling Habits, who answers a phone call from back home with "Oh, Harold, how are you?". I'm loving every minute of this episode- and then we get the final scrap, and the exquisite flirting and near-kiss as Batman nicks Catwoman. The chemistry between the two of them is electric- I love how pleased she is when he describes her scheme as "one of your best".
None of the above has anything to do with cats. I don't care. Much more Catwoman please.
“Oh, nonsense, Chief O’Hara. I know a reformed woman when I see one.”
Oh my. Catwoman is back, so let there be much rejoicing... and this two parter is utterly, spendidly bonkers, Let's just examine what it's about:
- Catwoman has some sort of MacGuffin thingy that can steal people's voices.
- Commissioner Gordon and Chief O'Hara foolishly believe Catwoman to have reformed because, essentially, they're hopelessly naive and she's flirty with them. Then again, she is rather delectable.
- Her plot involves a singing duo called Chad and Jeremy, who play themselves. I've never heard of them, but a little light Googling tells me that, while a one hit wonder here in their native UK, they had loads of hits in America. Blimey. I love their witty, Ringo-like press conference, and their confession to Aunt Harriet that they are only being pop stars so they can become brain surgeons and fancy lawyers.
- Once again Julie Newmar is superb- she's really perfected Catwoman's mannerisms, and once again gets to play her in another amusing disguise, this time a dance teacher.
- The cliffhanger is essentially a version of Chinese water torture intended to turn Batman and Robin into mindless sex slaves.
The Bat’s Kow Tow
“A bit on the groovy side, aren't they?"
The cliffhanger resolution- finding the right note to shatter the glass in the echo chamber- is hilarious. So is Catwoman's stealing Chad and Jeremy's voices to blackmail us in Blighty, on the grounds that they pay so much income tax our "Empire" would collapse, taking the world economy with it. Even funnier is Batman's lengthy explanation of the economic consequences if Catwoman stealing the voices of everybody in the whole world.
And then we have the British consulate, and the delightfully stereotypical Sir Sterling Habits, who answers a phone call from back home with "Oh, Harold, how are you?". I'm loving every minute of this episode- and then we get the final scrap, and the exquisite flirting and near-kiss as Batman nicks Catwoman. The chemistry between the two of them is electric- I love how pleased she is when he describes her scheme as "one of your best".
None of the above has anything to do with cats. I don't care. Much more Catwoman please.
Wednesday, 25 March 2020
Batman: Come Back Shame & It's How You Play the Game
Come Back Shame
"Moo."
Shame is, I think, the last of the truly iconic villains created for the TV series to appear, and first impressions of both Cliff Robertson and the character are very good indeed- he comes across as a menacing Western baddie from a real Western, but then this is the USA in 1966, when the Western was alive, well and popular both at the pictures and on the telly. There may well be silly henchmen (I like Messy James), but Shame himself is a surprisingly serious and dangerous character- his indulgence of little Andy is almost necessary to prevent the character from being too menacing.
It's back to a very formulaic opening few scenes again- there's only so many times you can mess with the format- this time with Bruce and Dick first seen playing Scalextric- then less than a decade old. It's appropriate to the racing car theme as Shame and his gang seek to steal parts for the ultimate getaway car to use in their main caper. The whole conceit makes for a splendidly exciting episode, with the first appearance of the Batcycle in some time. It's just a pity we have to see the bloody Alf-cycle again.
The fight, in a proper saloon bar, is awesome, with many tropes of fights from Western fisticuffs including using the full length of the bar for throwing one's assailant. And the cliffhanger, with the Dynamic Duo about to be trampled by cows, is a cut above most.
It's becoming decidedly apparent that Stanley Ralph Ross's name generally means a particularly good script.
It's How You Play the Game
"I knew he'd think I'd think he'd think I'd think he'd come back here."
The cliffhanger resolution is a bit pants, I suppose, but it's nevertheless fine by me on the grounds that it has Batman removing his cape and being a matador, providing some fun facts as a bonus. He gets an "ole" from Robin, and rightly so.
Also enjoyable are the splendidly stereotypical used car salesman and Cliff Robertson continuing to be awesome as Shame, a truly memorable villain. It's surprising that his ambitions go no higher than $1.2 million in, er cattle, but he is a cowboy, after all.
This week's wndo guest is some baddie from Hogan's Heroes, not a show that ever really crossed the Atlantic, but I sort of love how they brazenly ignore the fact that he's a) a Nazi and b) from a different time period. We also have a splendid shootout in a magnificent set, the "KO Corrall", and no doubt a thousand Western allusions I'm not getting.
The two parter is an utter triumph, and so is Shame as a character.
"Moo."
Shame is, I think, the last of the truly iconic villains created for the TV series to appear, and first impressions of both Cliff Robertson and the character are very good indeed- he comes across as a menacing Western baddie from a real Western, but then this is the USA in 1966, when the Western was alive, well and popular both at the pictures and on the telly. There may well be silly henchmen (I like Messy James), but Shame himself is a surprisingly serious and dangerous character- his indulgence of little Andy is almost necessary to prevent the character from being too menacing.
It's back to a very formulaic opening few scenes again- there's only so many times you can mess with the format- this time with Bruce and Dick first seen playing Scalextric- then less than a decade old. It's appropriate to the racing car theme as Shame and his gang seek to steal parts for the ultimate getaway car to use in their main caper. The whole conceit makes for a splendidly exciting episode, with the first appearance of the Batcycle in some time. It's just a pity we have to see the bloody Alf-cycle again.
The fight, in a proper saloon bar, is awesome, with many tropes of fights from Western fisticuffs including using the full length of the bar for throwing one's assailant. And the cliffhanger, with the Dynamic Duo about to be trampled by cows, is a cut above most.
It's becoming decidedly apparent that Stanley Ralph Ross's name generally means a particularly good script.
It's How You Play the Game
"I knew he'd think I'd think he'd think I'd think he'd come back here."
The cliffhanger resolution is a bit pants, I suppose, but it's nevertheless fine by me on the grounds that it has Batman removing his cape and being a matador, providing some fun facts as a bonus. He gets an "ole" from Robin, and rightly so.
Also enjoyable are the splendidly stereotypical used car salesman and Cliff Robertson continuing to be awesome as Shame, a truly memorable villain. It's surprising that his ambitions go no higher than $1.2 million in, er cattle, but he is a cowboy, after all.
This week's wndo guest is some baddie from Hogan's Heroes, not a show that ever really crossed the Atlantic, but I sort of love how they brazenly ignore the fact that he's a) a Nazi and b) from a different time period. We also have a splendid shootout in a magnificent set, the "KO Corrall", and no doubt a thousand Western allusions I'm not getting.
The two parter is an utter triumph, and so is Shame as a character.
Tuesday, 17 March 2020
Batman: An Egg Grows in Gotham & The Yegg Foes in Gotham
An Egg Grows in Gotham
"All the King's horses and all the King's men won't be able to put you together again!"
This is one of the best two parters so far with a sparkling and gloriously silly script and a splendidly camp and charismatic Vincent Price as the eggceptionally pun-tastic Egghead. I enjoyed it hugely. Eggcept... I have to be that person who points out that something from decades ago is a little bit incredibly racist but, well, look at the portrayal of Chief Screaming Chicken here, a whopping big "Red Indian" stereotype played by an eighty year old white man.
But there’s no denying how eggstremely fun this is, from the shameless puns coming to the extremely silly idea of Gotham City only being leased from the Mohicans with nine raccoon pelts as rent each year. And of course the Wayne’s are one of the founding families. Unfortunately the one remaining Mohican in Gotham, Chief Screaming Chicken, is said outrageous stereotype (“How?” “When?” “Where?”) and is credulous enough to be manipulated by Egghead. Yes, there’s a line from Batman acknowledging that “Indians” have a lot to be aggrieved about, but you certainly couldn’t show this on telly today.
Annoyingly, though, this is brilliant. All the nonsense about “fish” being spelled “ghoti” and the superb comic acting from Adam West and Burt Wars as they counteract the laughing gas with sad pills Is hilarious.
The cliffhanger is delightfully silly- Egghead draining the mind of Bruce Wayne to discover whether he’s Batman is refreshingly unusual.
The Yegg Foes in Gotham
"I guess I laid an egg..."
So what’s a “yegg” then?
Ok, the cliffhanger resolution is rubbish, but they often are. Conveniently Egghead gets just enough info from Bruce to discover that he has “a mind full of trivia” and it’s “inconceivable that he could be Batman”.
Unfortunately, the raccoon pelts have not been paid over by midnight, so the lease of Hotham has reverted back to Screaming Chicken- whose new police commissioner is Egghead. The Dynamic Duo are exiles while the police are comical unable to stop the ensuing crimewave. Fortunately, there’s a loophole, and this plotline is abandoned the moment full comic effect has been reached. Now Egghead is robbing the Treasury (did American cities in the ‘60s not just deduct taxes from salaries?) followed, of course, by the robbery of eggs from Old MacDonald’s Chicken Farm. Because of course. And the episode ends with the most pun-tastic fight ever.
Take away the dodgy racial bits, and this would be a contender for best story yet. Unfortunately the dodgy racial bits (“My face is so red.”) can’t be ignored.
"All the King's horses and all the King's men won't be able to put you together again!"
This is one of the best two parters so far with a sparkling and gloriously silly script and a splendidly camp and charismatic Vincent Price as the eggceptionally pun-tastic Egghead. I enjoyed it hugely. Eggcept... I have to be that person who points out that something from decades ago is a little bit incredibly racist but, well, look at the portrayal of Chief Screaming Chicken here, a whopping big "Red Indian" stereotype played by an eighty year old white man.
But there’s no denying how eggstremely fun this is, from the shameless puns coming to the extremely silly idea of Gotham City only being leased from the Mohicans with nine raccoon pelts as rent each year. And of course the Wayne’s are one of the founding families. Unfortunately the one remaining Mohican in Gotham, Chief Screaming Chicken, is said outrageous stereotype (“How?” “When?” “Where?”) and is credulous enough to be manipulated by Egghead. Yes, there’s a line from Batman acknowledging that “Indians” have a lot to be aggrieved about, but you certainly couldn’t show this on telly today.
Annoyingly, though, this is brilliant. All the nonsense about “fish” being spelled “ghoti” and the superb comic acting from Adam West and Burt Wars as they counteract the laughing gas with sad pills Is hilarious.
The cliffhanger is delightfully silly- Egghead draining the mind of Bruce Wayne to discover whether he’s Batman is refreshingly unusual.
The Yegg Foes in Gotham
"I guess I laid an egg..."
So what’s a “yegg” then?
Ok, the cliffhanger resolution is rubbish, but they often are. Conveniently Egghead gets just enough info from Bruce to discover that he has “a mind full of trivia” and it’s “inconceivable that he could be Batman”.
Unfortunately, the raccoon pelts have not been paid over by midnight, so the lease of Hotham has reverted back to Screaming Chicken- whose new police commissioner is Egghead. The Dynamic Duo are exiles while the police are comical unable to stop the ensuing crimewave. Fortunately, there’s a loophole, and this plotline is abandoned the moment full comic effect has been reached. Now Egghead is robbing the Treasury (did American cities in the ‘60s not just deduct taxes from salaries?) followed, of course, by the robbery of eggs from Old MacDonald’s Chicken Farm. Because of course. And the episode ends with the most pun-tastic fight ever.
Take away the dodgy racial bits, and this would be a contender for best story yet. Unfortunately the dodgy racial bits (“My face is so red.”) can’t be ignored.
Wednesday, 4 March 2020
Batman: Hot Off the Griddle & The Cat and the Fiddle
Hot Off the Griddle
"The marchioness of misdemeanours is a wily opponent."
This two-parter has the same writer as last week's travesty, yet this time it's an absolute triumph of wit and high camp; perhaps Stanley Ralph Ross should simply avoid all things mediaeval. Of course, it also helps that we have the wonderful and sexy Julie Newmar back as Catwoman in what is, incredibly, only her second appearance- with Lee Meriweather usurping her rightful place in the movie. Whatever the reason for that, it's great to see this wonderful actress back.
I love these epithets we keep getting- "the countess of criminality", "the viscountess of venality". And the deliberately ridiculous idea of a gossip columnist working from a phone booth inside a chemists, which is delightfully bonkers. Then we have the constant po-faced reminder to "be prepared", Catwoman's kinky cat burglary lessons, and a dancing Aunt Harriet. This is Batman at is very best and, after last week, it's a relief to find the programme's mojo very much intact.
Interestingly, for the first time, Catwoman flirts with Batman near the end. Although her idea of courtship is to set up an elaborate deathtrap with giant magnifying glasses. Very kinky...
The Cat and the Fiddle
"But hark- the ghastliest goings-on are yet to transpire!"
I suppose using the solar eclipse as a resolution to the cliffhanger is a bit cheeky but, to be fair, it was heralded at the start of last episode. But all is forgiven as Batman makes the fourth wall wobble by remarking to Robin how curious it is that they always survive their deathtraps, only to stop the wobbling by saying it's because of their "true hearts".
And so the fun continues, with Catwoman disguising herself as a sprightly old millionairess in a plot to steal some Stradivariuses (Stradivarii, as Catwoman says?) and, er, leave the Gotham State Building in a "getaway rocket" with several sets of handlebars. This is superbly bonkers stuff. We even have Batman insisting on paying to park the Batmobile- "Good citizenship, you know". And not long afterwards we get "Good grammar is essential, Robin".
We end with Batman saving the defeated Catwoman's life... and definite sparks between her and a blushing Caped Crusader. But she's going down for ten to twenty years...
I loved every minute of this two-parter. More Catwoman please. Much more.
"The marchioness of misdemeanours is a wily opponent."
This two-parter has the same writer as last week's travesty, yet this time it's an absolute triumph of wit and high camp; perhaps Stanley Ralph Ross should simply avoid all things mediaeval. Of course, it also helps that we have the wonderful and sexy Julie Newmar back as Catwoman in what is, incredibly, only her second appearance- with Lee Meriweather usurping her rightful place in the movie. Whatever the reason for that, it's great to see this wonderful actress back.
I love these epithets we keep getting- "the countess of criminality", "the viscountess of venality". And the deliberately ridiculous idea of a gossip columnist working from a phone booth inside a chemists, which is delightfully bonkers. Then we have the constant po-faced reminder to "be prepared", Catwoman's kinky cat burglary lessons, and a dancing Aunt Harriet. This is Batman at is very best and, after last week, it's a relief to find the programme's mojo very much intact.
Interestingly, for the first time, Catwoman flirts with Batman near the end. Although her idea of courtship is to set up an elaborate deathtrap with giant magnifying glasses. Very kinky...
The Cat and the Fiddle
"But hark- the ghastliest goings-on are yet to transpire!"
I suppose using the solar eclipse as a resolution to the cliffhanger is a bit cheeky but, to be fair, it was heralded at the start of last episode. But all is forgiven as Batman makes the fourth wall wobble by remarking to Robin how curious it is that they always survive their deathtraps, only to stop the wobbling by saying it's because of their "true hearts".
And so the fun continues, with Catwoman disguising herself as a sprightly old millionairess in a plot to steal some Stradivariuses (Stradivarii, as Catwoman says?) and, er, leave the Gotham State Building in a "getaway rocket" with several sets of handlebars. This is superbly bonkers stuff. We even have Batman insisting on paying to park the Batmobile- "Good citizenship, you know". And not long afterwards we get "Good grammar is essential, Robin".
We end with Batman saving the defeated Catwoman's life... and definite sparks between her and a blushing Caped Crusader. But she's going down for ten to twenty years...
I loved every minute of this two-parter. More Catwoman please. Much more.
Tuesday, 3 March 2020
Batman: Shoot a Crooked Arrow & Walk the Straight and Narrow
Shoot a Crooked Arrow
"That malfeasance marksman!"
Oh dear.
It's a new season, and we start with, well, a rubbish two parter and a ridiculous villain- and yes, I know that Batman is supposed to be silly in a high camp sort of way, but this is dangerously close to low camp. That is, except for the suspiciously named character of Alan A. Dale, who is just simply camp.
I mean, just look at the villain, the Archer, a ridiculous concept played with awful hamminess by the terrible Art Carney. A mediaeval themed villain could have worked, but not with that ridiculous thesaurus-swallowing dialogue and those ridiculous cod-Shakespearean pronouns (early modern, not mediaeval), which are used wrongly in any case with "thee" where they should have "thou". None of this has any of the self-referential wit I'd come to expect. And no, illustrating fights with "zap-eth" etc is not funny.
The Robin Hood angle gives us an amusing line about the honest poor of Gotham City returning the stolen cash but then steers close to the potentially interesting territory of Gotham preferring its Robin Hood to Batman, before this plotline is abruptly abandoned. This is so terrible that I'm hardly even amused to see apparent Scouser Alfred describe himself as "the William Tell of Liverpool".
Walk the Straight and Narrow
"Tell him to get some relaxation, and eat all his vegetables."
I've seen some rubbish cliffhanger resolutions in my time, but using "bat-springs" to leap out of danger has to be the worst yet. And Alan A. Dale is the most obvious sinisterly camp baddie of all time; we're not al all surprised to see him in league with the Archer.
There's one funny scene where Maid Marilyn (oh yes, they went there) complains to a cop about Batman driving recklessly, only to be told he lectures on road safety in his free time, but this is dire. Alfred in disguise as Batman, Art Carnet mispronouncing "Et tu, Brute?"-there's none of the usual magic here.Not even stock footage of the Batboat from the movie can save this. There have been less good episodes before, but sadly the opener to the second season is our first absolute turkey.
"That malfeasance marksman!"
Oh dear.
It's a new season, and we start with, well, a rubbish two parter and a ridiculous villain- and yes, I know that Batman is supposed to be silly in a high camp sort of way, but this is dangerously close to low camp. That is, except for the suspiciously named character of Alan A. Dale, who is just simply camp.
I mean, just look at the villain, the Archer, a ridiculous concept played with awful hamminess by the terrible Art Carney. A mediaeval themed villain could have worked, but not with that ridiculous thesaurus-swallowing dialogue and those ridiculous cod-Shakespearean pronouns (early modern, not mediaeval), which are used wrongly in any case with "thee" where they should have "thou". None of this has any of the self-referential wit I'd come to expect. And no, illustrating fights with "zap-eth" etc is not funny.
The Robin Hood angle gives us an amusing line about the honest poor of Gotham City returning the stolen cash but then steers close to the potentially interesting territory of Gotham preferring its Robin Hood to Batman, before this plotline is abruptly abandoned. This is so terrible that I'm hardly even amused to see apparent Scouser Alfred describe himself as "the William Tell of Liverpool".
Walk the Straight and Narrow
"Tell him to get some relaxation, and eat all his vegetables."
I've seen some rubbish cliffhanger resolutions in my time, but using "bat-springs" to leap out of danger has to be the worst yet. And Alan A. Dale is the most obvious sinisterly camp baddie of all time; we're not al all surprised to see him in league with the Archer.
There's one funny scene where Maid Marilyn (oh yes, they went there) complains to a cop about Batman driving recklessly, only to be told he lectures on road safety in his free time, but this is dire. Alfred in disguise as Batman, Art Carnet mispronouncing "Et tu, Brute?"-there's none of the usual magic here.Not even stock footage of the Batboat from the movie can save this. There have been less good episodes before, but sadly the opener to the second season is our first absolute turkey.
Thursday, 6 February 2020
Batman: The Purr-fect Crime & Better Luck Next Time
The Purr-fect Crime
"You can brush my pussy willows before you leave..."
We finally meet the last of Batman's iconic foes to appear- and Julie Newmar is incredible- charismatic, sexy and downright kinky, first seen threatening her two minions, both dressed as cats, with her cat o' nine tails.Even the opening teaser is nicely done, with a bit of cat burglary, and we get one of the wittiest high camp scripts yet as the Dynamic Duo are led to Catwoman's lair to be toyed with as a kitten does to a spider.
Batman's deadly straight goody-goodiness has never been more splendidly apparent- Robin is reminded that "you haven't fastened your safety bat belt" but approvingly told that "I'm gad you're up on your foreign languages, Robin. They come in handy when fighting crime".
But it all leads inexorably to the exquisite set of traps set by the sexy, clever Catwoman, whose witty puns and classical allusions (she mentions Damon and Pythias) show her to be a cut above lesser villains.
Better Luck Next Time
"Pets are a responsibility!"
It actually looks, in the scene with Batman at least, that this is no stock footage and Adam West was acting with a real tiger. I don't know whether to be impressed, alarmed or both. But this whole early segment where the Dynamic Duo are subjected to feline deathtraps is enormous fun. So is the fact that Catwoman says "TTFN"; apparently this was actually a thing in 1966. So, indeed, is the fact that Robin's reaction to being covered in catnip and gradually lowered into a pit containing two hungry tigers is "Catwoman, you are not a nice person."
We end with Catwoman pursued by the Dynamic Duo and their gadgets as, having betrayed her underlings, she finds some buried treasure- only to plunge to her apparent doom purely because of greed. We don't see a body, naturally.
That was magnificent. This Catwoman is sexy but fiendishly clever with it, with not a whiff of the tendency this programme often has to reform its female baddies. This is one of the best stories yet.
"You can brush my pussy willows before you leave..."
We finally meet the last of Batman's iconic foes to appear- and Julie Newmar is incredible- charismatic, sexy and downright kinky, first seen threatening her two minions, both dressed as cats, with her cat o' nine tails.Even the opening teaser is nicely done, with a bit of cat burglary, and we get one of the wittiest high camp scripts yet as the Dynamic Duo are led to Catwoman's lair to be toyed with as a kitten does to a spider.
Batman's deadly straight goody-goodiness has never been more splendidly apparent- Robin is reminded that "you haven't fastened your safety bat belt" but approvingly told that "I'm gad you're up on your foreign languages, Robin. They come in handy when fighting crime".
But it all leads inexorably to the exquisite set of traps set by the sexy, clever Catwoman, whose witty puns and classical allusions (she mentions Damon and Pythias) show her to be a cut above lesser villains.
Better Luck Next Time
"Pets are a responsibility!"
It actually looks, in the scene with Batman at least, that this is no stock footage and Adam West was acting with a real tiger. I don't know whether to be impressed, alarmed or both. But this whole early segment where the Dynamic Duo are subjected to feline deathtraps is enormous fun. So is the fact that Catwoman says "TTFN"; apparently this was actually a thing in 1966. So, indeed, is the fact that Robin's reaction to being covered in catnip and gradually lowered into a pit containing two hungry tigers is "Catwoman, you are not a nice person."
We end with Catwoman pursued by the Dynamic Duo and their gadgets as, having betrayed her underlings, she finds some buried treasure- only to plunge to her apparent doom purely because of greed. We don't see a body, naturally.
That was magnificent. This Catwoman is sexy but fiendishly clever with it, with not a whiff of the tendency this programme often has to reform its female baddies. This is one of the best stories yet.
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