Robert Garcia and Joe Desris, who wrote the cover story for Cinefantastique’s double issue on the 1966 BATMAN television show and 1990s animated Batman series, recently had their book BATMAN: A CELEBRATION OF THE CLASSIC TV SERIES published Titan Books. It’s available from Amazon.com here.
As most readers will know, The Batman did come to television in the 1960’s and became a smash success, a pop-art phenomenon that would long outlast it’s short-lived network life in syndication. But the road to the show was a circuitous one.
The first attempt to bring Batman to the small screen was by Ed Graham Jr. (LINUS! THE LION HEARTED), who had optioned the TV rights to Batman from National Periodical Publications. He was planning a straight kid’s adventure show for Saturday mornings. It’s said CBS was interested in airing the proposed program, but no pilot was ever made. Perhaps this is because Graham’s previous outings as director or producer were all in animated cartoons and TV commercials, with no live-action credits that I’ve be able to identify. Without a track record, the network may have been unwilling to finance the show’s development. But Ed Graham would not be the only person to see potential in the caped crusader.
Starting around 1963-64, enterprising theater owners (notably in Chicago) began renting the Batman serials from Columbia for weekend showings, and to everyone’s surprise it began to catch on with college students, who found the old kiddie fodder ‘campy’ — humorous because it’s ridiculous, overdone, or just plain bad in an amusing way. These bookings were so successful that Columbia officially re-released the serials in 1965, with marathon viewings offered as AN EVENING WITH BATMAN AND ROBIN.
Reportedly, ABC network executive Yale Udoff saw the serial at the Playboy Mansion, and thought the idea of a Batman TV series for prime time might be a workable proposition. National’s (DC Comics) option with Ed Graham Productions must have been up, because ABC in partnership with 20th Century Fox were able to obtain the TV and film rights. (Said to be only $7,000.)
ABC originally wanted an action-adventure show, perhaps with a certain amount of coy self-awareness, as in NBC’s THE MAN FROM UNCLE. 20th Century Fox production executive William Self originally approached screenwriter (A NIGHT TO REMEMBER) and spy novelist (The Mask of Dimitrios) Eric Ambler to write a film that would launch a Batman TV series. Ambler passed, and ABC wanted the series to go to pilot quickly, so Self’s choice for producer William Dozier (ROD BROWN OF THE ROCKET RANGERS, THE LOSER) picked Lorenzo Semple Jr. (PRETTY POISON) to write the pilot script. Semple had previously written a modern update of Charlie Chan for Dozier called NUMBER ONE SON, which would have featured Dozier’s discovery — martial artist Bruce Lee. The network wasn’t ready for that idea. They weren’t quite ready for what Dozier and Semple had in mind, either.
William Dozier had obtained several issues of Batman and Detective Comics to read while flying from New York to Los Angeles. He was not happy with what he read, and worried. He felt that if he tried to make a serious adaptation of the comics it would flop, and he would become the laughingstock of Hollywood. The only way to save face would be to spoof the character, play up the straight-faced juvenile aspects as intentional high camp. The kiddies would love it, and the adults could laugh if they wanted. Lorenzo Semple agreed with the approach and signed on.
Batman in the comic books had become almost a mockery of his former self in the late 1950’s to early 60’s. The noir-ish crime stories had given way to more whimsical adventures, visits from space aliens and other pseudo-scientific plot devices, along with juvenile attempts at awkward soap opera with Batwoman and the first Batgirl attempting to interest the dynamic duo in romance.
By 1963, DC was considering canceling at least one of the Batman titles. Editor Julius Schwartz was given control of the books, with carte blanche to make changes. He brought in Carmine Infantino, who had redesigned the Flash into a modern superhero to update Batman’s look. The hero’s increasingly broad ( in more ways than one) cartoon appearance was abandoned, slimming him down and adding a yellow circle around the bat insignia on his chest as a symbol of his “New Look”. Stung by public sniggering about a homosexual context to the Bruce-Dick-Alfred living arrangements, they even took the odd choice of killing off Alfred Pennysworth, and had Dick Grayson’s quickly invented Aunt Harriet Cooper take his place as housekeeper. Sales began to pick up somewhat.
At some point in this process, former NFL football player Mike Henry was apparently up for the part of Batman, and it’s claimed that photos were taken of him in a Batman costume. Whether these were for the CBS or ABC proposals is unclear, nor is the there any certainty this actually happened. (In the late 70’s I was shown a picture purported to be of Henry as the character, but it looked to me like the work of an airbrush rather than a tailor.) Mike Henry would in any case be busy starring as another icon, Tarzan in three films — and did a creditable job.
Many actors were considered for the role by Fox and ABC, including western TV star Ty Hardin (BRONCO), but Dozier had set his sights on Adam West (William Anderson), a handsome actor with a flair for light comedy that he had seen spoofing James Bond (as Captain Q) in a series of Nestle’s Quick commercials. At ABC’s request, he also tested future WONDER WOMAN star Lionel Wagner and former child actor Peter Dyell (MR. NOVAK) as Robin. With West he tested gymnast-turned-fledging actor Burton Gervis as Robin. ABC went with the second pair, and Gervis soon changed his name to Burt Ward. It’s interesting to note that the acting and lighting of the screen tests is noticeably more subdued than what the series would feature.
Going into production on the pilot was a gamble for ABC and 20th Century Fox. Wanting to have a good looking show (and one that could be exploited as a movie), the decision was made to build a big Bat Cave set. Production designers Serge Krizman, Ed Graves and the rest of Jack Martin Smith’s staff proposed a massive, two-story structure, that essentially took up an entire soundstage. (Part of the atomic pile came from the recently wrapped OUR MAN FLINT. ) This and other space concerns at the busy Fox Studios led the company and Dozier’s Greenway Productions to make the series not on their own stages and facilities, but at Desilu’s Culver City Studio. This was the old RKO-Pathe/Selsnick International Studios, not their main facility on North Gower Street, next to Paramount.
KING KONG, GONE WITH THE WIND, and the first season of THE ADVENTURES OF SUPERMAN had been filmed there. The backlot (called Forty Acres) was where THE ANDY GRIFFITH SHOW filmed the Mayberry scenes — and both Desilu 1960’s adventure shows STAR TREK and MISSION: IMPOSSIBLE would often visit. The BATMAN crew would often use the same backlot, though certain episodes would use the Fox lot — and the regular location of Gotham City Hall, where Commissioner Gordon’s office was located was actually (a still-standing structure) on the Warner Brothers backlot. The choice of filming at a rental facility, while solving Fox’s immediate concerns, would later have repercussions.
Lorenzo Semple’s pilot episode was loosely based on “The Remarkable Ruse of the Riddler” which appeared in Batman #171 (May 1965),written by long-time DC writer Gardner Fox. Semple revised and fleshed out the story considerably, turning the short comic book tale into an hour-long TV series. Actor/impressionist Frank Gorshin (INVASION OF THE SAUCER MEN) played the role of the manic and obsessive villain The Riddler, investing the part with great energy and a high pitched laugh inspired by Richard Widmark’s mad psycho killer’s giggle in KISS OF DEATH (1947). Jill St. John guest starred as Molly, a buxom red-head who with the aid of a rubber mask somehow becomes the spitting image of Robin the Boy Wonder.
The show comes off with great style, directed by Robert Butler who also directed the first pilot of STAR TREK. It was full of production value, including comic book-inspired superimposed ‘visual sound effects’ such as POW! BIFF!, etc. superimposed over the fight scenes. The cost of all this flashy, vividly colored action adventure was around a half a million dollars.
The first regular that had been cast was British character actor Alan Napier, to play the role of Alfred. Dozier thought killing the character off had been a mistake on DC’s part, and insisted on including him in the series. Subsequently, the comic books would contrive a science-fictional way of reviving the trusty butler. (Originally as a mutated monster out to destroy the dynamic duo.) The producer agreed with the idea of Aunt Harriet as a blance to the all-male home, and cast Madge Blake (THE REAL McCOYS). Neal Hamilton, with a career as both leads and character roles since the silent days, played the part of Commissioner Gordon. Stafford Repp, once a sound effects man, created the role of Police Chief O’Hara. His faux Irish accent reportedly irritated his irascible co-star Hamilton throughout the series.
Busy jazz and film composer Neal Hefti composed the soon to be famous BATMAN theme, a blues-influenced surf rock number for bass guitar, brass, percussion and vocals that helped set the tone and would win a Grammy.
George Barris proved a sleek black Batmobile, forced by the short time-frame allotted to convert the already existing Ford concept car the 1955 Lincoln Futura. The car, originally pearl white with a double-domed clear canopy, had been painted red for the 1959 comedy IT STARTED WITH A KISS. It was given a through make-over for the pilot, painted glossy black with added details and came off quite impressively on film, though it had be filmed under-cranked to safely exit the narrow Bronson Canyon mine tunnel that was used to depict the exterior of the Bat Cave — and to look as swift as the flame-thrower ‘atomic turbine’ that had been mounted on the back suggested.
The costumes for the caped crimefighters were a good attempt to translate the then-current look of the comic book characters. Costume designer Jan Kemp went to the trouble of matching the color of Batman’s leotards as printed; rather than just gray, they’re actually a subtle mauve, an artifact of how grays were generally achieved in the 4-color process. Unfortunately, the indigo blue material that covered the fiberglass shell of Batman’s cowl had a tendency to quickly turn purple under the stage lights. The cape would face similar problems, and would also be made shorter as the series progressed, so that it wouldn’t get stepped on or snagged in action scenes. The ‘face’ of the cowl was hand painted black, with accents for the nose and eyebrows in lighter blue. The Bat-insignia was a sticker that would be applied and removed daily. Though a printed item, the bat is actually not quite symmetrical. Unfortunately, Batman’s utility belt — made to appear functional — tended to make the in-shape Adam West look a bit thick-set. (Adding to the problem West’s stuntman Hubie Kerns, despite being quite athletic had a slight pot belly, which the belt accentuated noticeably.)
Robin’s costume was right out of the comics, though the cloth gloves in the pilot would be replaced with green leather ones in the series. The palm sides of Batman’s finned gauntlets would be refurbished with suede to avoid tearing.
ABC liked what they saw, and committed to 16 episodes. Of course, the show would have to be audience tested. The reaction nearly scuttled the series. The results supposedly were the worst of any program test in television history. William Dozier thought he knew why; the audience was confused — not getting the concept that the show was essentially a farce. He quickly did some narration with a preface explaining that the idea was to have fun, to ‘hiss the villains and cheer the heroes’ — along with an archly-announced middle cliff-hanger break. It’s rumored that a version with a laugh track was made and tested. Early footage (a network and affiliate promo reel) still exists, scored with stock music from Peter Gunn episodes, which was in the ballpark of what they had in mind. Eventually, well-known big band composer Nelson Riddle would score the show quoting the Nefti theme often, and coming up with distinct personal motifs for the major guest villains as the show progressed.
The show needed work, and initially there was time, as it wasn’t due to premiere until the Fall of 1966. However, ABC had a problem, several of its 1965 season shows were bombing and would be canceled. What was the solution? Launch a ‘second season’ in January of 1966. Batman would be one of the new programs, though the time slots available weren’t the most favorable. ABC figured that kids would be the primary audience, so the show couldn’t be on too late. In the 60’s most children were in bed by 9:00 PM. The answer? Well, the show was inspired by the cliff-hanger serials — instead of coming back after a mid-point break, turn the hour-long show into two half-hour shows at 7:30 on successive nights. Twice the bang for the buck. (There’s some evidence that ABC briefly considered cutting the episodes into 15 minute segments, but if so this never went past initial discussions.)
After a huge promotional campaign, Batman premiered on Wednesday January 12th, 1966. with the episode “Hi Diddle Riddle”. The second segment “Smack in the Middle” aired the next day. The show was an instant hit, with kids excited by the larger-than-life characters and action, and adults generally amused by the then relatively straight-faced spoofing.
Keeping with William Dozier’s plans, well-known actors were sought out to play the guest villain roles. Burgess Meredith would take the part of the top-hatted Penguin, developing his eccentric quacking from trying to suppress coughing from the cigarette smoke of the long holder the character sported. Caesar Romero, once typed as a latin lover, was so amused by the costume designed for the Joker that he cackled helplessly with glee. This became a signature for the role — and to add to the absurdity, rather than shave his trademark mustache, the make-up artists simply spread the clown white make-up over it.
Taking a comic book character originally named Mr. Zero, George Sanders would be the first of theer actors to take on the part of the villain re-named Mr. Freeze (with the supposed identity of a Dr. Shivel in his introductory episode).
TV actor Malachi Throne (IT TAKES A THIEF) would play the role of the always-masked False Face, but the use of name actors coupled with his question mark billing led to insistent speculation that it was really some big star unwilling to show his face — certainly an intended result.
After originally planning for the petite Suzanne Pleshette to take on the part of Catwoman, when she proved unavailable the producers went with the statuesque Julie Newmar, who relished the chance to do more comedy, and she became iconic in the role. New villains would be invented for the show, including King Tut (Victor Buono). Unlike most of the guest foes, who never have their comic book real names mentioned, Tut is given an in-joke secret identity; William Omaha McElroy. William Dozier’s middle name was McElroy, and he was born in Ohmaha, Nebraska.
The show was a huge hit, and a wave of Bat-Mania flooded the airwaves, record shops, toy stores, and even adult nightclubs. Celebrities happily did window cameos on the show as West and Ward walked along a set built sideways, capes held up by wires. Shot with a camera on its side, it gave the illusion of the pair scaling a wall. Adam West in later years would remark that the 1960’s entertainment era might well be thought of as “The Three B’s: The Beatles, James Bond, and Batman.”
Buoyed by the success of the show, 20th Century Fox greenlit a feature film, BATMAN (1966) to be filmed during the series’ hiatus. Rather than Dozier’s Greenway Productions, the film was made by a new production company he created, Greenlawn Productions. This and (presumably other) legal reasons permitted the film to be released on video decades before the TV series would be. Adam West and Burt Ward negotiated nice salaries for the film, but their duties would extend to a great deal of traveling and promotion when it was released. (Up to this point, Ward was only making $350 an episode.)
Caesar Romero, Burgess Meredith, and Frank Gorshin would reprise their TV roles, but Julie Newmar was unexpectedly unavailable for the film. She’d committed to another feature and the production had to scramble to find a replacement. (This is usually said to be McKENNA’S GOLD (1969), but that film didn’t shoot until 1967. I believe the film project Newmar did was the UK-shot Zero Mostel comedy MONSIEUR LECOQ (1967).
It wasn’t until after production had commenced on BATMAN that the producers were able to bring in former Miss America Lee Meriwether (THE TIME TUNNEL) as the Catwoman. The replacement casting makes the idea that Batman/Bruce Wayne doesn’t recognize Catwoman as the romantic interest Russian reporter ‘Miss Kitka’ in the storyline somewhat easier to swallow. The only fanboy explanation for this — as in the series Batman had seen the feline villainess without her mask more or less regularly — is that the film must take place before the Catwoman episodes of the show. There also doesn’t seem to be any hint of the personal attraction the characters shared on the show, despite Wayne’s infatuation with her false assumed identity in the film. The original plan was for a feature to precede the series, perhaps this was a plot ‘hangover’.
The far-fetched sci-fi storyline by Lorenzo Semple Jr. involved the four villains kidnapping the security council of the United World Organization (read U.N.) by dehydrating them into colored powders, with the plan of reconstituting them only after spectacular ransom was paid.
Soon to be The Green Hornet, actor Van Williams did a voice cameo, using his rather good Lyndon Baines Johnson impression as the President. Direction by Leslie H. Martison is serviceable, as is Howard Schwartz’s photography. A number of scenes actually appear a bit less effective or atmospherically shot than comparable ones from the TV show. Running around in broad daylight on real locations seemed to emphasize the ridiculous nature of the material, as did the stronger embrace of outright comedy. The budget (in the area of $1.3 million) allowed for the building of the Batboat and Batcopter, stock footage of which soon would find itself nicely adding production value in the next season of the program.
The film was at best a moderate success in the United States, taking in approximately 3 million dollars, playing mostly kiddie matinees. Adults largely stayed away — why pay for something you could watch free on television? However, foreign box office and re-releases put the film well into profit. (About $7.5 million world-wide over the years.)
The second season saw a number of changes. William Dozier left most decisions up to producers Howie Horowitz and William D’Angelo, while Semple — who’d been serving closely as a story/script consultant — contributed far less frequently. Stories by writers such as Stanley Ralph Ross and Charles Hoffman would venture even more deeply into comedy and farce. Per episode budgets went down, seen with slightly less elaborate sets, somewhat scaled down fight scenes, and more obviously with the money saving expedient of replacing the costly animated overlays with quick cut-aways to solid art cards with rapid lens zooms and color shifts.
Julie Newmar reprised her role as Catwoman, Meredith and Romero returned, but Frank Gorshin’s Riddler did not appear in the second season, apparently due to a salary dispute. John Astin (THE ADDAMS FAMILY) donned the green tights for one two-parter and Maurice Evans (PLANET OF THE APES) received a re-written Riddler script as The Puzzler — a minor Superman villain. Batman co-creator Bill Finger (and writing partner Charles Sinclair [THE GREEN SLIME]) brought in Green Arrow nemesis The Clock King (Walter Slezak) — though mixed with Finger’s earlier creation The Clock, and not quite like either iteration in the BATMAN episodes. Many more villains invented for the show appeared in the second season, allowing guest roles for actors as diverse as Vincent Price, Van Johnson, Cliff Robertson, Michael Rennie, and even Liberace.
To try to save THE GREEN HORNET series, the titular crimefighter and Bruce Lee’s Kato appeared, to no avail. The Hornet would fly no more, and The Batman was soon to get his wings clipped, though not as drastically.
Though ratings were still good, they were not as spectacular as they had been. Batman was an expensive show, and the Wednesday show was consistently weaker in its audience draw. Women and girls were less interested than males. It was time to shake things up a bit.
Dozier had been conferring with the DC editors regarding female interest, and Julius Schwartz, Carmine Infantino and Gardner Fox came up with a new Batgirl (Betty Kane had been Bat-Girl, niece and partner of the Kathy Kane Bat-Woman of the `50’s.) This updated version would be Barbara Gordon, the previously unknown librarian daughter of Commissioner Gordon.
Former Miss America (1959) Mary Ann Mobely was the first actress considered for the role. (She was the first April Dancer on THE MAN FROM UNCLE in a backdoor pilot episode, when THE GIRL FROM UNCLE went to series Stephanie Powers got the part, instead.) Yvonne Craig, a dancer and film actress (two Elvis Presely musicals IT HAPPENED AT THE WORLD’S FAIR  and KISSIN’ COUSINS ) was chosen to portray Batgirl in a presentation film for ABC.
The network approved the actress and the concept, so much so that they briefly considered giving her a solo lead-in series. Craig was given a vivid purple and yellow version of the comic book character’s somewhat more subdued costume, featuring a mask with sharply angled points on the cheekbones in the non-broadcast short. These left red marks on her face, so they would be eliminated when the character was added to the show.
The try-out film had suggested a teasing romantic relationship between Batman and Batgirl, this would be largely ignored in the third season. There wouldn’t really be time in the once-a-week 30 minute format. There was also about half the money, since the costs weren’t being spread over two episodes.
As the third season progressed, new weekly settings for hide-outs and other script locations gradually disappeared, with black ‘limbo’ sets filled with simple props, often two-dimensional brightly painted cut-outs similar to pop-art stage dressings taking the place of more realistic designs. 20th Century Fox was known for such cost-saving shortcuts on Irwin Allen’s science fiction adventure shows (LOST IN SPACE, TIME TUNNEL, et al), though those shows benefited from having accrued a good supply of technical-looking set pieces that were available to fill up space. BATMAN would beg and borrow some of these assets.
Nelson Riddle left most of the third season scoring to his associate Billy May, a jazz trumpeter turned composer/arranger who had also scored THE GREEN HORNET series. He wrote a brassy Batgirl theme to give the character a sense of edgy action, although the producers limited the motor-cycle-riding heroine to relatively lady-like kicks rather than trading punches with evil-doers.
Frank Gorshin would return for a single appearance as the Riddler, but Julie Newmar was unavailable (actually filming MCKENNA’S GOLD this time), so the producers brought in singer/dancer Eartha Kitt as Catwoman. Choosing a black actress was a bit of a daring move in 1967, but the show defused the characters’ former sexual tension. With a great purr, Kitt was a fiercer feline adversary, more interested killing Batman than kissing him. The over-all attraction to the Caped Crusader was winding down.
However, BATMAN very nearly went to a fourth season. ABC was willing to renew the series, with several caveats. To 20th Century Fox’s complaints of insufficient budget to cover production costs, the network had some ideas to further streamline the show. Madge Blake, already ailing and only appearing in two third season episodes would not be in the new season. To save time and money, Chief O’Hara was considered unneccesary. Most surprisingly, the network felt that they could dispense with Burt Ward’s Robin, and that Batman and Batgirl would become the new dynamic duo. William Dozier and Adam West both protested the elimination of Stafford Repp’s and Ward’s roles. 20th Century Fox wasn’t happy with the idea of essentially financing a portion of the show out of their own pocket. The studio felt they probably had enough episodes to go into syndication. Not getting the response they wanted, ABC cancelled the show.
What to do about the huge Batcave set filling up that rental stage at Desilu Culver? Hold it for a couple of weeks while Fox offered the series to the other networks, just in case. NBC had evidenced some interest. Weeks passed without firm results, and the Batcave set was bulldozed.
The next week, NBC contacted Fox Television to say that they’d pick up the series, and even restore it to it’s twice-weekly format. But the main set was gone. How much to rebuild it? At least a half million bucks, maybe more because some of the re-purposed set-pieces such as the atomic pile had been destroyed. NBC didn’t care to pick up that tab.
However, this seemingly effective death-trap did not kill off the show’s career on TV.
20th Century Fox was right, the series 120 episodes were perfect for local syndication, and even ‘stripped’ daily, kids would not tire of the series for decades.
True, comic-book devotees would revile the show, even if those who had been kids when the show debuted might harbor some nostalgia for the series. This nostalgia would grow after BATMAN was no longer found daily on local stations. It would have seemed perfect for release on video, but there were major problems involved.
National Periodical Publications/DC had been sold to Kinney National (originally a parking garage concern) in 1967. By 1969 they would buy up Warner Brothers/Seven Arts studio and holdings. (Bob Kane profited by this, as the new Warner Communications wanted to own all the characters free and clear. He walked away with millions, ultimately. ) By the time the video revolution came about, Warner Bros. (Time-Warner) who owned Batman, and Fox Television who co-owned the series with Greenway Productions were at loggerheads. Neither corporate entities wanted the other to be able to release and profit by the show. William Dozier, and then more complicatedly his heirs wanted whatever profit they felt they were due, and all guarded their interests fiercely.
Ultimately, an accord was reached, and now in November of 2014 the show is finally coming to video with DVDs and Blu-rays, complete with special features with Adam West, Burt Ward, and others. A decades-long cliffhanger has been at long last resolved.
But what of Batman’s fate in film and television? The 60’s TV series had cast a light on the Dark Knight, bringing him into widespread public notice, far more so than comic books, newspaper strips and serials ever had. However, his three years in the limelight would also throw a long shadow, keeping the character squarely pegged as kiddie fodder by Hollywood for nearly twenty years. Yet he would return, and once again a kind of Bat-Mania would sweep the entertainment world.
This year marks The Batman’s 75th anniversary. Most of you will be aware the Batman character first appeared in Detective Comics Number 27, the May 1939 issue. As comic books then and now tend to be dated three months in advance, it probably hit the newsstands about mid-February or March of that year. The cover depicted The Batman swinging across the rooftops carrying a criminal in a decidedly dangerous looking headlock as his stunned accomplices looked on.
The character looked different in the early days: darker, sinister — more bat-like, with exaggerated ears and a stiff winged cape. He was the product of a young cartoonist from the Bronx named Bob Kane (Robert Kahn), who created the masked avenger with the help of Bill Finger.
Kane had been doing gag cartoons and a Terry and the Pirates inspired adventure feature for Detective and Adventure Comics when one of the editors (usually identified as Vin Sullivan) asked him if thought he could come up with a costumed hero. DC was interested in duplicating the success they were having with Superman. When told he might make as much as $700 dollars a month by doing so, Bob Kane became very interested. It was a Friday, and Kane said he’d have one ready Monday morning. He was not going to miss out on an opportunity like this.
Kane already had a vague idea of what he wanted to do. The editor had suggested the idea after seeing some Flash Gordon sketches Kane had done to hone his talents, which were more naturally inclined to cartooning rather then realistic figure drawing. The Hawkmen character in the Flash Gordon strip had captured Kane’s imagination, and he first thought of the new character as another concept of a winged man. After toying with the idea of calling the character Birdman, Kane recounted in later years that he went through his old notebooks and verified that in his famous ornithopter sketches, Leonardo DaVinci had intended the wings be shaped like a bat’s. The Bat-Man – now that sounded dramatic.
Kane originally depicted the new hero as wearing bright red leotard, a Zorro-like black mask, and mechanical batwings that he would use to swoop down upon criminals. He contacted his friend Milton ‘Bill’ Finger, part-time shoe salesman and an avid pulp magazine reader who Kane had hired as a ghost writer to help plot and write his Rusty and His Pals stories for Adventure Comics. Finger suggested Kane replace the cumbersome mechanical wings with a bat-winged cape, like the villain in the movie The Bat Whispers. He also urged him to make the tights a more somber gray, and to make the mask a cowl that covered the head. The eyes would be left blank like Lee Falk’s Phantom to give The Batman an extra touch of mystery. Kane agreed with Finger’s ideas, and added long pointed ears and a long-nosed mask that suggested the features of a bat. They added a belt that could carry gas vials and other equipment, as well as gloves, so that he would leave no identifying fingerprints.
Despite some misgivings about his sinister appearance, DC decided to try out the character. Some there had originally thought Superman was too outlandish to succeed, but he’d been a tremendous hit. Perhaps lighting would strike twice. So Bob Kane and Bill Finger went to work. As noted, Finger was pulp fan, and the then-inexperienced writer based the first story; The Case of the Chemical Syndicate on a Shadow novel, Partners in Peril (written by Theodore Tinsley under the Maxwell Grant house name).
Elements of pulp Zorro, the Shadow, and the Spider influenced The Batman, as did the origin of the pulp hero The Bat (likely written by Johnston McCulley, creator of Zorro). Chester Gould’s Dick Tracy comic strip would also have an influence as the series progressed.
Bruce Wayne’s name supposedly came from the Scots hero Robert the Bruce and Revolutionary War general Mad Anthony Wayne — but it also sounds a lot like Bob Kane! For Batman was Kane’s alter ego of sorts, a mysterious, romantic figure who was rich and athletic, virtuous yet not bound by laws or convention. He would be a hero made superhuman not by powers beyond those of mortal men, but by an incredible will and unceasing effort. He was the flip side of Superman, the dark contrast to his bright colors, not quite as unique perhaps, but all the more compelling because he was just within the bounds of possibility.
RADIO AND FILM
It seems odd that Batman never had a radio show of his own. He did appear on The Adventures of Superman, but not until 1945. On March 1st of that year, Superman rescued a boy adrift in a rowboat who proved to be Robin, the boy wonder. He tracked down and rescued the missing Batman, forming an enduring partnership. Batman and Robin became recurring characters on the show, largely so that Bud Collyer could take time off from playing Superman. Robin was always portrayed by Ronald Liss, but the part of Batman would be played by a number of actors, including Stacy Harris, Matt Crowely (the majority of appearances), and Garry Merrill. Superman radio announcer and character actor Jackson Beck (voice of Bluto in many Popeye cartoons) would play Alfred when needed, using a cockney accent to humorous effect.
An odd conceit of the radio series is that Bruce Wayne seemed to live in an upscale suburb of Metropolis, rather than a distant city. At first, Superman knows the true identities of Batman and Robin, but they don’t know his. When Clark Kent has to approach Bruce Wayne for Batman’s help, Wayne is hostile and suspicious, and Kent reluctantly reveals his Superman identity. It’s not clear if Robin is entrusted with the secret at that time.
What many people don’t know is that Batman had been suggested as a radio show before then. A script was written for a pilot Batman program entitled The Case of the Drowning Seal, and an audition disk was made in 1943. This was a wartime script ; the villains were Nazi agents and the destroyed towns of Lidice and Coventry are pointedly mentioned. It’s been a number of years since I read the material, but it was a rather different idea of Batman.
To differentiate Bruce Wayne from the Batman, the masked hero spoke with a British accent. The character’s costume was described as being simply a “horned” black mask and bat-like cape. Apparently( from the context of the script) this simply was worn over Bruce Wayne’s street clothes, and Batman seemed not to bother with gloves, since he identifies one of the Nazi agents previously encountered in darkness because he has oil on his face — the same black oil that the Batman got on his fist when he socked one of the villains on the jaw. Not too worried about the secret identity, it seems. This was perhaps because the Batman was something along the lines of a secret agent, known to the U.S. government.
This lack of concern about secrecy is also shown by the fact that Bruce Wayne is also dealing with the orphaned son of Bruce’s friends the Graysons, undercover FBI agents who have been murdered by the spies. The boy is named Robin Grayson, not Dick — which kind of makes the team of Batman and Robin a bit too obvious even for the most dim-witted of criminals. Radio historian Jack French informed me that Scott Douglas portrayed Batman in this version. The actor had also played the pulp and comic book character The Black Hood in a 1943 series on the Mutual Network, which carried Superman as well.
Batman may have struck out on Radio but he had leapt from the comic book pages and onto the silver screen with greater success. 1943 also saw the release of the Columbia serial BATMAN.
It was 15 chapters of low-budget slam-bang thrills, directed by Lambert Hillyer; primarily an action specialist who also directed atmospheric horror thrillers such as Dracula’s Daughter and The Invisible Ray. Batman was played by Lewis Wilson. (Crime fighting must run in the family, because his son Michael Wilson now produces the James Bond films). Robin was portrayed by juvenile actor Douglas Croft, who also appeared in a number of “A” features, most notably playing the young George M. Cohan in Yankee Doodle Dandy.
The part of Alfred the butler was played by William Austin, who was tall and slim, and wore a mustache –- quite the opposite of the comic book Alfred who was at that time depicted as short, chubby and clean-shaven.
None of the other comic book regulars appeared in the serial. There’s no Commissioner Gordon, instead the Batman enjoys teasing Captain Arnold (Charles C. Wilson, This Gun For Hire). Phased-out comic book girlfriend socialite-turned actress Julie Madison is replaced by medical secretary Linda Page, played by Shirley Patterson — who would later change her screen name to Shawn Smith and appear in 50’s faves such as The Land Unknown and It! The Terror from Beyond Space.
The serial must have impressed Bob Kane, who permanently changed the appearance of the Alfred character to resemble the actor. Linda Page (now a nurse) was introduced in the new Batman newspaper strip, and Captain Arnold would also make a few appearances. Other long-lasting adaptations included the Bat’s Cave of the movie, which became the Batcave, along with the idea of entering it through a grandfather clock, which the serial writers had cribbed from Zorro. It’s interesting to note that like the radio pilot, Bruce Wayne/Batman’s identity seems to be known to the government, and he is willing to undertake missions for them. (Likely this was a case of the film serial inspiring the radio series.)
There is no Batmobile, with the crimefighters getting around in Bruce Wayne’s sleek black Cadillac convertible. Alfred often serves as wheelman, and nervously dons disguises when needed to aid the caped crime-fighters.
The serial is a lot of fun, and rather well done by the standards of Columbia chapterplays. Actually, BATMAN was produced outside the studio by Rudolph Flothow (Ramar of The Jungle TV series) for Larry Darmour Productions, who handled Columbia’s serials and a number of their ‘series films’, such as Ellery Queen, Lone Wolf and Crime Doctor at the time — acting as an essentially independent B-Unit with their own off-lot soundstage facilities. When needed, they could rent the Columbia Ranch or the Warner Brother’s backlot.
BATMAN has a nice visual look to it for the budget, using fluid camera work and creative lighting by Director of Photography James S. Brown Jr. (Strangler of the Swamp 1946.). The villainous Dr. Daka’s (J. Caroll Naish House of Frankenstein) laboratory features a nice array of equipment, including Frankenstein electrical apparatus rented from Kenneth Strickfadden. With this, he can create human ‘zombies’; mind-controlled slaves to further his campaigns of sabotage and subversion. There’s also a nifty radium-powered ray pistol (which would show up years later in 1960’s Cape Canaveral Monsters), though it’s quickly captured by Batman and rendered moot, though the bad guys continue to hunt for radium to buld a larger version. Flash Gordon’s Ming the Merciless, Charles Middleton gets a rare good-guy role as a prospector friend of Bruce Wayne.
Lee Zahler provides a effective, if strident score, basing his main themes on darker motifs from Wagner’s Rienzi Overture, and likely other classic influences.
However, despite the positive things in its favor, there are some puzzling editing errors — such as keeping in a portion of a fight scene wherein Batman looses his cape, only have it back on following a cut-away to Alfred waiting in the car below. Logically, the place to put the edit would have been at the point where the hero begins to have cape trouble, rather than continuing to show the fighting sans cloak. A letter to Bruce Wayne from the government asking him to look into a aircaft plant is shown with a Los Angeles address, although the film is indeed set in Gotham City. The recent DVD release seems to have added an editing slip-up or two, possibly attempts at covering for missing or damaged footage. (Several of the chapters show damage or wear that has not been restored, digitally or otherwise. There’s a least one collector’s 16mm print that has a better copy of Chapter One.)
The film has run into trouble in recent decades due to its blatant wartime anti-Japanese fervor, but it’s still interesting viewing, and J. Carroll Naish’s gleefully depraved faux-Japanese Prince/Dr. Daka is a delight for fans of hammy screen villainy. At one time the only commercially available version of the serial had been redubbed to remove the many racial slurs, with announcer Gary Owens (Laugh-In) redoing the original narration by sportscaster Knox Manning. The Sony/Columbia DVD release restores the original, warts and all.
In 1949, after the success of their Superman serial, Columbia released BATMAN AND ROBIN (also as New Adventures of Batman and Robin) . This 15-chapter serial is not nearly as good as the ’43 version and is a poor successor to 48’s Superman, though director Spencer Gordon Bennett directed both. Much of the chapterplay’s failure is likely due to the low budget producer Sam Katzman allowed. Columbia would give serial producers a flat rate, how much of that wound up onscreen is another matter. The film seems rushed and haphazard, and its lead actors worn out by the frantic pace.
Actor Robert Lowery (The Mummy’s Ghost) was reportedly (in accounts by co-star Duncan) not too thrilled to be playing the tights-wearing comic book character. Johnny Duncan, who was in his twenties (and looked it) when he portrayed Robin the Boy Wonder, also related that he had to secretly help Lowery lace up a girdle in order to fit in his leotard. The eyes in the cowled mask were too small and didn’t line up well for Lowery; you can see him adjust the cowl several times onscreen. The ‘bat-ears/devil’s horns’ were floppy, leading Lowery to stuff them with cotton. Batman’s gloves give out early in the serial, and heavy work gloves are substituted –not matching the much darker finned gauntlets.
Robin wears a dark colored cape, possibly influenced by the green cape the character sported on the cover of Batman #1 (or not, it’s anybody’s guess). Lowery and Duncan gamely did their best to enliven the proceedings, and there are a few good moments, but the results are still pretty dire from today’s standpoint.
One pathetically amusing bit is that Batman and Robin usually drive around in Bruce Wayne’s gray `49 Mercury convertible, which is noted and draws a barbed on-screen comment by the comic book’s press photographer Vicki Vale, played by Jane Adams (House of Dracula). “Does Bruce Wayne know you’re driving his car?” This and other obvious tip-offs only make her mildly suspicious of her nominal boyfriend’s dual identity. Perhaps she was distracted by her never before seen brother Jimmy Vale (George Offerman, Jr.), a pilot with feet of clay who gets mixed up with the villains.
Hollywood veteran Lyle Talbot introduced the part of Commissioner Gordon to the screen, and a partially disassembled television set in his office was used as a “high-tech” electronic Bat Signal that could miraculously project out the window a bat insignia onto the clouds… in broad daylight.
In later years, Bob Kane reported visiting the production, when he asked to see the Batmobile (apparently in the script), had the convertible pointed out to him. His heart sank; apparently the producer had made a deal with the auto manufacturer, and they supplied the car for free — several times. John Duncan said the cars were used roughly by the actors and stunt men, and the local Ford dealer would just give them a new (or repaired) one to use when they broke down.
Showing the rushed and seemingly lackadaisical nature of the film, despite there being a Batcave set, Batman and Robin are shown at least once getting into the car in Bruce Wayne’s driveway. No Wayne Manor, the place looks like a junior exec’s nicely appointed but unpretentious suburban home, complete with neighbors walking by on the sidewalk. Instead, the wheel-chair bound inventor suspect gets the mansion.
With its reliance on the masked mystery villain The Wizard’s super-science Remote Control Ray, and other gadgetry, the film has something of the feel of Batman’s 1950’s daylight sci-fi adventures. On that basis, or for low-budget laughs, the serial can be enjoyed. Completists should be aware that Chapter One of the Sony/Columbia VHS tape is incomplete by several minutes, due to the tape being assembled from 16mm prints edited to make Super 8mm reduction prints for sale to collectors. I’m told the DVD release continues this omission, though I have not viewed it myself.
If the BATMAN AND ROBIN chapterplay might have been a disappointment to comic book fans, it appears to have done fairly well at the box office. Perhaps this is why another attempt at a Batman Radio show was made in1950.
The Batman Mystery Club was an audition disc made in September of that year. The story was called The Monster of Dumphrey’s Hall, and was written by Don Cameron, who wrote for the comics and the Batman newspaper strip. It was rediscovered by Fred Shay, of the National Broadcaster’s Hall of Fame. The series’ premise reflected Cameron’s interest in disproving superstitions, and opened with Robin addressing a group of kids, and introducing Bruce Wayne, the Batman to show them that the seemingly supernatural adventures they would encounter had purely natural explanations. Writer Cameron had been researching and writing a book about occultism, which might explain his motivations somewhat.
However, it’s kind of an odd and dry idea for an kid’s superhero show (hey kids, this whole spooky story we made you sit through is pure bunk), and it’s not too surprising that the pilot did not become a series. Ronald Liss reprised his role of Robin (just Robin, not Dick Grayson) from the Adventures of Superman, and Batman was played by John Emery, who had also portrayed Philo Vance on radio.
Reportedly, there was a Batman radio series in Argentina in the 1950’s starring Carlos Carella as the caped crusader. They only documentation I’ve found of this is an intriguing publicity still.
Though it might have seemed a natural spin-off, there was no Batman series to mirror the 1950’s Adventures of Superman TV show (although former Batman Robert Lowery would guest star in an episode, The Deadly Rock). Batman would have to wait until the 1960’s to hit the airwaves again.
And when he did, it would be a tidal wave.
There’s nothing particularly wrong with employing the time-space continuum for the pure fun of the concept. EDGE OF TOMORROW makes good sport of it, coming up with a pretty keen action film and allowing Tom Cruise to play comedy beats better than he did in KNIGHT AND DAY. But, given the mind-bending possibilities inherent in the genre, it seems almost a crime not delve for deeper meanings than just “craven coward becomes kick-ass action hero.” GROUNDHOG DAY did it. So did TIMECRIMES. So did FUTURAMA (numerous times).
And now, so does COHERENCE. The tale of a Los Angeles dinner party that goes all kinds of wrong when a comet begins warping the dimensions, the film — directed by James Ward Byrkit, the man who helped create the freaky “family” film RANGO, and starring BUFFY’s Nicholas Brendon, Emily Baldoni and Maury Sterling, among others — manages to be as much a commentary on relationships and the fragility of the social contract as it is an sf mindfreak. I delve into the film in my review for HOUR OF THE WOLF, and, as bonus, also take a look at the latest episode of the fan-produced STAR TREK CONTINUES and IDW’s first Star Trek: New Visions photo-novella, both of which, in another example of the crossing of the timelines, deal with the aftermath of the Enterprise crew’s visit to the mirror universe in “Mirror, Mirror.” Weeeeeeeird. Click on the player to hear the segment, or right-click the title below to download.
LISTEN TO HOUR OF THE WOLF
EVERY THURSDAY AT 1:30 AM
ON WBAI 99.5FM IN NEW YORK CITY
Influential author and screenwriter passes away. Works included I AM LEGEND and WHAT DREAMS MAY COME.
Multiple sources (including io9 and the Guardian Express) are reporting that author Richard Matheson – the man Stephen King cited as the greatest influence on his work – has passed away at the age of 87. The news originated with a Twitter post by his daughter, announcing that her father had passed away after a long illness.
It is quite literally impossible to exaggerate the significance of this news. The world of horror, fantasy, and science fiction has just become smaller, now that one of its major lights has been extinguished. Although Matheson’s heyday as a novelist and screenwriter was decades ago, his work continues to inspire others. The recent hit REEL STEEL (2011), starring Hugh Jackman, was inspired by his work, and Matheson had been shopping his back catalog (over 150 novels, short stories, and screenplays) around to studios, with the plan of bring the material to the screen only with the author’s oversight and approval.
Matheson’s horror, fantasy, and science fiction novels include I Am Legend, The Shrinking Man, A Stir of Echoes, Hell House, Bid Time Return, and What Dreams May Come, all of which were adapted into films, usually with the author working on the screenplay. His short stores filled over half a dozen paperback collections; many of them found their way in front of the camera, either for films or television.
Matheson got his break into the feature film business when Universal Pictures sought the rights to film The Shrinking Man, which became THE INCREDIBLE SHRINKING MAN (1957). As part of the deal, Matheson insisted that he be allowed to write the adaptation. Although the final version was reworked by Richard Alan Simmons (to get rid of the flashback structure), Matheson received sole credit, and was pleased with the result, except for the ending, which he felt over-stated the point he made in his book, when protagonist Scott Carey shrinks to infinitesimal size but realizes he will not cease to exist because “to Nature there was no zero.” In the movie, the line became, “To God there is no zero. I still exist.”
I’m not sure whether it is on record anywhere, but Matheson’s attitude toward THE INCREDIBLE SHRINKING MAN mellowed in his later years. During a question-and-answer session after a screening in Hollywood a few years ago, he dismissed any ill feelings about the ending, saying it was essentially what he wrote. (Matheson may have “got religion” during the interim. His early science fiction novels have a strong existential streak running through them; his later fantasy stories often deal with life after death, particularly What Dreams May Come, which includes a legnthy bibliography of non-fiction source material.
After THE INCREDIBLE SHRINKING MAN, Matheson went on to a busy career in films, which including adapting numerous other books and stories to the screen for such classic films as THE DEVIL RIDES OUT (1968, a.k.a. THE DEVIL’S BRIDE), starring Christopher Lee; BURN, WITCH, BURN (1962, a.k.a. NIGHT OF THE EAGLE), based on Fritz Leiber’s Conjure Wife; and MASTER OF THE WORLD (1961), based on two novels by Jules Verne.
For producer-director Roger Corman, Matheson stretched the work of Edgar Allan Poe to feature length, often expanding the short stories into what were essentially original screenplays: HOUSE OF USHER (1960), THE PIT AND THE PENDULUM (1961), TALES OF TERROR (1962), and THE RAVEN (1963). The latter two added comedy to the horror mix, a formula Matheson attempted again with his original script for THE COMEDY OF TERRORS (1963), which was directed by Jacques Tourneur (I WALKED WITH A ZOMBIE).
For the small screen, Matheson penned numerous episodes of THE TWILIGHT ZONE, including two starring William Shatner (“Nick of Time” and “Nightmare at 20,000 Feet”). He also scripted the STAR TREK episode “The Enemy Within,” which split Captain Kirk into his good and bad selves. His other episodic work includes WANTED: DEAD OR ALIVE; HAVE GUN, WILL TRAVEL; THE ALFRED HITCHCOCK HOUR; THE GIRL FROM U.N.CL.E.; LATE NIGHT HORROR; JOURNEY TO THE UNKNOWN; Rod Serling’s NIGHT GALLERY; CIRCLE OF FEAR; and Steven Spielberg’s AMAZING STORIES.
In the 1970s, Matheson wrote several made-for-television movies, beginning with DUEL, based on his Playboy short story. Directed by Steven Spielberg, and starring Dennis Weaver as a driver mercilessly hounded by a big rig truck apparently out to kill him for no reason, the film is a classic thriller.
Matheson then teamed up with producer Dan Curtis, scripting such telefilms as THE NIGHT STALKER, about a vampire in modern day Las Vegas. Other collaborations included THE NIGHT STRANGLER; TRILOGY OF TERROR; and DRACULA (whose lost-love-reincarnation plot greatly influenced Francis Ford Coppola’s BRAM STOKER’S DRACULA).
Later work included TWLIGHT ZONE: THE MOVIE (1982) and JAWS 3-D (1983). Most of his subsequent screen credits (nearly 20 since 1990) are for previously published stories that were adapted into films, such as the big-budget version of I AM LEGEND (2007), starring Will Smith. He also wrote the novels Earthbound (1989) and Now You See It… (the latter adapted from his stage play).
Matheson’s influence on the horror genre is incalculable. Outside of the 1950s science fiction films, horror and monster movies tended to use period settings; the traditional Gothic atmosphere seemed essential to establishing an atmosphere that would make the incredible events believable. However, this also established a distance between the cinematic events and the every day life of the audience. Matheson pioneered the art of placing horror in suburbia – not in a forgotten European castle, but right next door, and sometimes not as far away as that.
In Matheson’s novels, all manner of strange and bizarre things can happen in your very home- such as a daughter disappearing into another dimension in the TWILIGHT ZONE episode “Little Girl Lost.” Even when Matheson did opt for an isolated location, as in Hell House (which became THE LEGEND OF HELL HOUSE on screen), the setting was contemporary, and there was a patina of scientific verisimilitude that made the horror convincing.
Besides the numerous official adaptations of his work, Matheson’s shadow extends far and wide, reaching all the way to the recent release of WORLD WAR Z. Matheson’s novel I Am Legend (about a world overrun by vampires, leaving only one human alive) provided the inspiration for George A. Romero’s NIGHT OF THE LIVING DEAD (1968) (which basically turned Matheson’s blood-drinkers into flesh-eaters). Romero’s later DAWN OF THE DEAD (1978) expanded the first film’s narrow scope to an apocalyptic scale, suggesting that the walking dead were eclipsing humanity. This became the template for all the zombie apocalypse tales to follow, including not only WORLD WAR Z but also THE WALKING DEAD.
Sadly, the greatness of Matheson’s novel has never been captured in the official film adaptations, which shy away from the existential shock of the ending, in which hero Robert Neville realizes that, in a new world of vampires, he is the outcast; he is the monster:
Normalcy was a majority concept, the standard of many and not the standard of just one man.
[…] To them he was some terrible scourge they had never seen, a scourge even worse than the disease they had come to live with. He was an invisible specter who had left for evidence of his existence the bloodless bodies of their loved ones. […]
Robert Neville looked out over the new people of the earth. He knew he did not belong to them; he knew that, like the vampires, he was anathema and black terror to be destroyed. […] A new terror born in death, a new superstition entering the unassailable fortresses of forever.
I am legend.
His fantasy novels What Dreams May Come and Bid Time Return (the latter adapted in 1980 as SOMEWHERE IN TIME) are marked by a deep commitment to romantic love – which is portrayed as strong enough to outlive time and survive death itself. The films, although earnest and sweet, do not live up to the source material, which in both cases strives to sell the potentially treacly ideas with genuine dramatic conviction. (Even confirmed atheist Harlan Ellison, in his Los Angeles Times review of What Dreams May Come, admitted that Matheson made a damn convincing emotional argument for the afterlife.)
That is the thought which I hold in my mind now, more than the handful of times when I saw him in person, affably answering questions about his work and autographic his books. I imagine him somewhere on the other side, whispering to us (or more probably to his surviving family members, like Robin Williams in the screen version of WHAT DREAMS MAY COME): “I still exist.”
Perhaps that is not quite the epitaph the author deserves. Better to note this profound truth:
For those of us with a Sense of Wonder, Richard Matheson was – and is – Legend.
According to Deadline , Ron Howard’s ambitious version of Steven King’s THE DARK TOWER book series might very well still have life in it.
The site says that Warner Brother’s is “very close to a deal” that would give Howard the means to make the first feature film he planned in adapting the saga.
Screenwriter Akiva Goldsman’s script would be used, and Goldsman would produce with Brian Grazer and Steven King. Warner Bros. has purchased Goldsman’s existing script (done for Universal), and he is now doing a polish on the screenplay for the studio.
Javier Bardem was previously tentatively attached as the anti-hero lead Roland Deschain, last of the “Gunslingers” — in the Dark Tower world a kind of Western-themed Knight-Errant.
Bardem’s continued participation is dependent on when the film, still to be directed by Ron Howard, is scheduled. This might be the beginning of 2013.
Right now, Javier Bardeem is playing the villian in SKYFALL , the new James Bond film, currently shooting in the UK.
The production’s resurrection is a bit of a surprize to many, as Universal Studios backed off the plan to make three feature films and two TV mini-series out of the allegorical dark fantasy novels.
Apparently, HBO may pick up the project as a mini-series, if Warner Brothers Pictures ultimately greenlights the film.
According to TV WIRE , Katie Cassidy (SUPERNATURAL has been cast as Dinah “Laurel” Lance, love interest to Oliver Queen (Stephen Amell) in the CW pilot THE ARROW.
In the DC Green Arrow comic books, Dinah Lance is also the Black Canary, the ebony clad superhero with a supersonic blasting power. However, we may not see her don that jacket and fishnets, as the revisionist TV series seems be presenting her as Laurel Lance, a “young attorney with the City Necessary Resources Initiative” whose relationship with Oliver Queen may be largely past tense.
Also cast are Susanna Thompson (ONCE AND AGAIN) as Oliver’s mother Moiria (apparently still living) and David Ramsey (DEXTER) as “an ex-military/special forces type” who is is now employed by Queen in a security role.
Online sources (via ComicBookMovie) that claim to have read the script indicate that Oliver Queen is returning to “Starling City” (Star City in the comics) after being marooned for five years on an island after an incident that took the lives of his father and a girlfriend — Laurel Lance’s sister.
The castaway story is part of the DC Comic’s character’s origin. The details have been changed and tweaked for a certain amount of soap opera for the now young female-slanting network, I would imagine.
The pilot was written by GREEN LANTERN film alumni Greg Berlanti and Marc Guggenheim, with Andrew Kreisberg (FRINGE, WAREHOUSE 13). David Nutter (SMALLVILLE) will direct the Warner Brothers Television pilot.
Addendum: Here’s the CW’s Character descriptions for THE ARROW
Oliver Queen: A 27 year old reformed bad boy, who after having spent five years shipwrecked on a tiny, brutally dangerous island in the South China Sea returns to town a different man. Or to be more specific, a tortured, thoughtful master of the bow with a ferocious determination to make a difference.
Dinah “Laurel” Lance: 28 years old, smart sexy, Laurel is a legal aid attorney determined to use her life as a one-woman war against the 1% following the death of her younger sister Sara. A sister, who as luck would have it, just so happened to have died aboard Oliver’s yacht.
Tommy Merlyn: 28 years old and devil-smooth, Tommy is a trustafarian like Oliver, a spectacularly rich young man whose life revolves around parties, clubs, liquor and lots of anonymous sex. Unlike Oliver, he can’t seem to understand his former best friend’s sudden change of lifestyle and direction.
John Diggle: 35 years old, African-American, Diggle is really, really big, a former military man who served with the Army Rangers in Afghanistan, and has been a bodyguard for hire for the last four years. Hired by Moira to be Oliver’s chauffeur and protector, Diggle soon finds he is trapped in a battle of wits, as Oliver repeatedly eludes his protection. But in fact, Diggle’s primary conflict is one of loyalty — he has to show that he’s working for Oliver, not Moira, before Oliver will give him a smidgen of trust. (via MTV)
The Warner Brothers Television series SMALLVILLE garnered quite a few fans (and vocal critics) in it’s years on the abandoned WB Network and it’s successor, the CW.
In view of the upcoming MAN OF STEEL film relaunch, it’s somewhat surprising to see DC Comic launch a comic book continuation of the TV series.
Here’s DC’s press release:
“Fans of the smash-hit TV series Smallville haven’t had much to cheer about since the show ended its critically acclaimed 10-year run on The CW last May. That’s all going to change with the upcoming new comic book series from DC Entertainment: SMALLVILLE SEASON 11.
Written by former Smallville show scribe Bryan Q. Miller, the new digital first series will be published digitally on April 13, 2012, with new digital chapters released weekly thereafter. Additionally, the online chapters will be offered in a print periodical, along with an episode guide to the hit television series, with the first print issue released on May 16.
The new comic book series picks-up where the show left off (with Clark officially now as Superman!) and features other fan-favorite characters including Oliver Queen/Green Arrow, Chloe Sullivan-Queen, Lois Lane, Lex Luthor, and General Lane.
The book features an all-star creative team – in addition to Miller, SMALLVILLE SEASON 11 creators include print cover artist Gary Frank (SUPERMAN SECRET ORIGIN), digital cover artist Cat Staggs and interiors by Pere Perez (BATGIRL).
“Six months after Clark Kent donned the cape and took to the skies to save Earth from Apokolips… enter Season 11!” enthuses Miller. “New allies abound! New enemies afoot! And old friends return where they’re least expected! Pere and colorist Chris Beckett have done a fantastic job of capturing the look of the show and the players, and Gary and Cat are knocking it out of the park on covers. I couldn’t be more excited to help give seasoned viewers and new readers an all-access pass to Clark’s first year in the cape.’ “
The cover preview above seems to include a well-rendered likeness of SMALLVILLE star Tom Welling as the Man of Steel, wearing the “New 52” version of the costume. The series finale had featured a mostly CGI version of Welling in what seemed like a mix of the traditional ‘uniform’ and the SUPERMAN RETURNS costume.
The Christmas season is upon us, and as we have had occasion to mention, that means ghosts and spirits. And what greater Christmas ghost story is there than Charles Dickens’ A CHRISTMAS CAROL? That is the subject of this week’s Cinefantastique Round Table Podcast: Dan Persons, guest John W. Morehead (of Theofantastique.com), and Steve Biodrowski take a look back at the original novel and the numerous film and television adaptations, both live action and animated, that have brought not only Scrooge but also Jacob Marley and the Spirits of Christmas Past, Present, and Future to life on the screen. Listen for fond remembrances of everything from the 1951 classic SCROOGE starring Alistair Sim to the 1970 musical starring Albert Finney, from George C. Scott to Patrick Stewart, not to mention Mr. Magoo, the Muppets, and Doctor Who!
Lest we forget that Jim Henson was about more than Kermit and Big Bird (ahem, DARK CRYSTAL, THE STORYTELLER, and on, and on…), this year’s New York Comic Con staged a panel in which Henson archivist Karen Falk and Archaia Editor-in-Chief Stephen Christy exhibited footage from the Muppet-master’s experimental short films, commercials, and TV plays, and discussed the imminent publication of Tale of Sand, a wry, surreal, Kafkaesque graphic novel based on an unfilmed script co-written by Henson and frequent writing partner Jerry Juhl.
After the presentation, Falk and Christy granted us a few minutes to discuss Henson’s eclectic soul, how that translated into the furiously antic/ominous vision that became TALE OF SAND, and how Henson’s history is tied inextricably to that of CFQ. Click on the player to hear the interview.