I still don't think that script would've worked as a movie. It was way too bloated.
Way too bloated? Come on now. BATMAN BEGINS will have Ducard, Ra's Al Ghul, The Scarecrow, Carmine Falcone being taken down, the entire origin sequence with Lucious Fox, and in addition, will feature a car chase, action at Arkham and a final plot against Gotham, and several encounters with Ra's Al Ghul. It has a romantic/friendship subplot and a subplot about Earle and Bruce having to reclaim Wayne Enterprises. As THE BATMAN is set up, THE BATMAN works fine, because it's basically a series of escalating events in Gotham City, not a single master plan by a villain.
And Batman had so much sex in it, almost like, they were trying to hold up a sign or something saying, "HE'S NOT GAY! REALLY!"
I think there were three scenes that implied he slept with women. These occur at key moments in his life, and the last one before Silver helps him realize that for all his talents, he's still not doing what he set out to do.
He was supposed to be showing his playboy side, what with the buying of cars and sleeping with hot women and all. They were showing him as one. It was also apparently part of his dark side, and his intense nature coming out, and part of how he released his energy. So he liked women. So what? That's just like the comics, back when Batman used to have a heart and long for love as much as the next man.
I'd love to see what a certain someone could do with a re-write of the third act. Wink wink..
Akiva Goldsman?
Someone said something about The Joker being too silly. The way Joker is portrayed in THE BATMAN is exactly like he was in the comics, a cold-blooded killer whose jokes are only funny to him. He's a big deal in Gotham here, he's pretty much a mob boss. He does his "Joker crimes" to amuse himself and terrorize Gotham, which includes using Kops, utiliziing disguises for himself, and an appearance at the opera, all things he's done in the comics before. And as far as him not being a threat, hardly. The Joker kills a news vendor with an exploding cigar early in the script, he kills Joe Chill later on, leaving him dead with a ghoulish grin, he kills The Mayor of Gotham with another kind of smile toxin, and it's hinted that something else happens at the opera, and more people are in danger or die. Sam Hamm's killed more people. BUt for 1983, this version of The Joker nailed his methods of operation, and his character.
The Silver St. Cloud romance/love triangle/quartet story is done much better than love interests in the previous franchise were done, or movies in general. Silver in this script is smarter, sexier, and more determined than most love interests I've seen in THE BATMAN. She's just all around cool, and a great character with plenty of depth for a love interest, who has a real impact on Bruce Wayne. She actively seeks out what's wrong with Bruce, and why, and tries to be a friend/lover to him, even after she knows he may be Batman. They talk more than any previous love interests have, and the discussions they have do have a lot of meaning. It's fantastic. You see them level with each other, and be honest with each other, and you see real emotion on Bruce's part.
As far as The Penguin goes, they nailed him. He's everything he ever was in the comics: A gimmicky crook who tries to be more than he is and gets foiled more often than not. THE BATMAN showcases his odd nature, his opulant, excessive lifestyle, he talks like The Penguin always has, and he has his gimmicks (birds, umbrellas, etc) and thugs to do his bidding. He and The Joker work well together in their scenes.
Dick Grayson becoming Robin is thrown in, but it's very well done, and never feels fake. There's real emotion to Bruce and Dick's encounter and in how much Bruce cares about Dick and his situation, and a lot of intensity in the death of the Graysons and Bruce and Dick's reactions to this. The duality that both of them share is explored, and there's a good conflict for Dick to overcome before he becomes Robin. His entrance is classic Robin, too.
Councilman Rupert Thorne is also portrayed well. He's a great political character. He's used his connections with The Joker to more or less own Gotham, and is a cold hearted son of a ***** who did what he had to do to reach the top and continues to do so. He even sacrifices the woman he wants (Silver) as bait for The Joker to nail The Batman, and is responsible for her death when he tries to kill Bruce/Batman.
Also, despite this script having a bit of camp, we get to see the effects that becoming The Batman has on Bruce Wayne. We see him get injured and healing. We see him struggling to come to grips with his crusade and facing depression because of it. We see how much he cares for the innocents of Gotham. We see how his relationship with Alfred is strained.
Anyway, something interesting I've found over the years after reading this scrpt, aside from obvious influences it had on BATMAN...THE BATMAN seems to have influenced or preceded some things. Example: This, I believe, was in SPIDER-MAN
EXT. FLAMING BUILDING - NIGHT
A TOWERING INFERNO engulfs a building in a poor section of town.
Flames shoot out of the upper floors as a DISTRAUGHT MOTHER pleads with
the FIREMEN.
MOTHER
But my baby! My baby's still in
there!
FIRE CAPTAIN
It's impossible, lady! I can't send
My men into that tinderbox!
FIREMAN
(staring up in awe)
Look!!
ANGLE ON BATMAN - THEIR P.O.V.
The Batman lands on top of the burning building! Hooking his nylon
cord securely, he shields his face with his cape, then launches himself
downwards, swinging straight through a window in a SHOWER OF GLASS AND
FLAMES!
After an agonizing moment - he reappears! He cradles a BAWLING BABY in
his arms, covers it with his cape, then quickly shimmies down into the
street.
And for those of you who read the BATMAN BEGINS script...
ANGLE ON BRUCE
Looking up. Staring across the room:
The remaining laser beam has eaten away a piece of the basement wall -
there is a dull ECHOING THUD as the plaster hits the bottom of some
unseen cavernous space below.
BACK TO BRUCE
Rising. Crossing curiously to the hole in the wall. Training his
flashlight torch through it.
ANGLE DOWN HOLE - HIS P.O.V.
AN IMMENSE CAVERN trails down and away into the blackness. A network
of aged timbers intersect themselves, shoring up the side of the
foundation.
BACK TO BRUCE
Staring. Playing his flashlight against the visible parts of the
underground cavity. He picks up a beaker from the lab table, then lets
it fall through the hole. There is an interminable wait. Finally -
the impact of SHATTERING GLASS.
ANGLE BACK THROUGH HOLE
Seen from inside: the torch beam shines. Suddenly - a long length of
rope is tossed through. Bruce appears in the opening. He wriggles
through, hanging on to the rope.
Bruce expertly shimmies down the rope, a man completely at home in an
action he knows well. The beam from the torch dances across the walls
of the cavern: high-ribbed, jagged walls, suggesting some sort of
labyrinth beyond. The rope has played out. Bruce hangs by the end,
looks down, lets himself fall to the cavern floor below.
He rises, plays the torch against the sides of the cave.
ANGLE ON BEAM - HIS P.O.V.
The beam searches into crannies, exploring dark gray walls. It comes
across a large patch of solid black.
BACK TO BRUCE
Looking curiously.
BACK TO BLACK PATCH
As the beam hits the black patch fully - dozens of yellow eyes appear.
The entire mass LAUNCHES ITSELF INTO CAMERA with a terrifying screech
and the sound of beating wings.
BACK TO BRUCE
His jaw drops, stunned, as THE COLONY OF BATS swarm over him! He
stumbles, protecting his face. The torch drops to the floor. Its
shaft of light dances crazily around the cavern.
From O.S. - a low moan is heard from Bruce. It rises, gathers in
volume and intensity, gradually becoming a deep, booming guttural roar
- at once a scream of total pain and a cry of defiance. The terrified
bats scream back in a maze of hot and cold light bouncing off beating
black wings.
INT. ALFRED'S BEDROOM - NIGHT
The wind and rain batter against Alfred's partially open bedroom
window. Mixed with the sounds - a strong echo of the roar from the
cavern. Alfred's eyes pop open. He rises groggily, makes his way to
the window, closes it. CAMERA HOLDS on window, PANS UP to the moon.
DISSOLVE THROUGH TO:
EXT. CEMETERY - CLOSE ON MOON - NIGHT
A FLASHING LIGHTNING BOLT: CAMERA PANS DOWN from the moon through the
raging storm to the graves of Thomas and Martha Wayne in the country
cemetery, high on the hill.
Kneeling between them is Bruce - fists clenched, head bowed, tiny
rivulets of water running off his face and body - totally lost in
silent prayer.
BRUCE'S VOICE
I've worked hard to make you proud of
me. To become the kind of person
whose presence could make a difference
in the world. But one man can only do
only so much, Father. Mother, to-
night I saw the sign I thought would
never come. Now - for the first time
I realize I must...be...more...than
a man.
And for those of you who like Goyer's take on The Batmobile.
EXT. STREET - NIGHT
The Batmobile is about to become a sandwich as Batman suddenly squeals
the vehicle into a parking building! The Hood Cars do respective 180's
and follow suit.
INT. PARKING BUILDING - NIGHT
The Batmobile roars around hairpin turns, ascending the levels of the
parking building like a sportscar.
The Hood Cars screech after him, gaining speed. They pursue Batman
higher and higher, threading the narrow openings through the lines of
parked cars, tearing off side mirrors, doors, and fenders on their way
by.
ANGLE ON HIGHER LEVEL
The Batmobile, reaching the level just under the roof, squeals around a
corner, catches the fender of a parked car, and spins out of control!
Batman slams on the brakes as the Batmobile skids and turns to face:
The two Hood Cars, which have stopped so that they are completely
blocking off the exit ramps, up and down. The OCCUPANTS stare in
amazement as the Batmobile suddenly roars at them!
INT. BATMOBILE - NIGHT
Batman's jaw sets as he looks forward.
ANGLE THROUGH WINDSHIELD
A sign at the bottom of a narrow ramp leading to the roof screams in
red letters: WRONG WAY - DO NOT ENTER - SEVERE TIRE DAMAGE!
BACK TO PARKING LEVEL
The Batmobile shoots up the wrong-way ramp!
CLOSE OF METAL TEETH
As the Batmobile's tires make contact with the viciously protruding
metal teeth - ALL FOUR TIRES BLOW! The vehicle roars on, flub-a-
dubbing up toward the roof.
EXT. ROOF - NIGHT
The Batmobile exits onto the roof as the two Hood Cars, appearing from
the proper ramp, fan out to flank it.
ANGLE ON PENGUIN IN AIR
The Penguin takes up a position in mid-air just above and past the
roof, "clucking" with glee as he sees the Batman is hopelessly trapped.
BACK TO ROOF
The two Hood Cars close in on the Batmobile from either side. Batman
is running out of room.
INT. BATMOBILE - NIGHT
Silver looks through the windshield in despair!
ANGLE THROUGH WINDSHIELD
The edge of the roof looms up rapidly!
SILVER'S VOICE
Oh, my God!
She looks over at Batman whose JAW SUDDENLY TWITCHES!
EXTREME CLOSE ON SILVER
She has seen his jaw twitch! She stares in disbelief, realizing the
implications.
SILVER
(whisper)
Oh, my God...
BATMAN
Hang on!
Batman presses a RED BUTTON!
EXTREME CLOSE ON EXHAUST
The Batmobile's twin turbine engines EXPLODE WITH A WHITE FLAME! Jet-
propelled afterburners ignite!
WIDER ANGLE
The Batmobile has reached the edge of the roof, now LAUNCHES ITSELF
into space in an upwards arc!
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