REVIEWS
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A Batman: The Musical Trailer

Morgan, a fan of this website, produced a trailer featuring clips from the Jim Steinman demos and Tim Burton movies. Take a look!

from Gotham Knight

I must admit before going any further that I was very, and I do mean VERY skeptical when I came across this site. While I do enjoy musicals immensely, such as Chicago and Phantom of The Opera (pity how horrible the film translation was, Schumacher Strikes again!) I quite frankly scoffed at the idea of a musical version of my favorite fictional character. Picturing Batman blurting out rhyming lyrics in his darkened cowl made me cringe. And learning that Tim Burton was once attached to direct nearly sent me into a coma. However, once I prepared myself for the worst, and listened to the demos, I see why he was interested.

I was hooked.

Very rarely does the outcome of something completely take me by surprise, but Batman: The musical is unlike anything I've heard before...and I liked it!

The Review:

GOTHAM CITY / THE GRAVEYARD SHIFT

"Some things only happen in the dark."

They say that first impressions are very important. Like the main titles to BATMAN and BATMAN RETURNS, this overture tells me everything I need to know about atmosphere, and the look of Gotham City, without ever having to see a picture. The banging piano paints a picture of chaos and destruction; the scarred faces of the angels still left crying up for a savior. Then there is only silence, and from the shadows The Batman reveals himself. I feel his anger and his pain. I have no pity for the criminals that met him that night.

IN THE LAND OF THE PIG, THE BUTCHER IS KING

"Listen to the amputees sing."

One of my favorites. In one powerful and menacing stroke, you know exactly what the Batman is up against. Not just the muggers and rapists, but those who wear a badge. The power these maniacs wield is a mighty one, and they are proud, fearless in the face of any enemy. I'd call this the theme song of legions, because they are many. It drives home the fact that Batman is the only hope. A very catchy tune.

NOT ALLOWED TO LOVE

My favorite song, all of its versions. At first it sounds a tad cheesy, but there is something about it that's just right. Has the best flow of any of the songs, remains catchy, and fun to sing (...don't judge me), yet remains powerful, and very sad. It builds the wall between Bruce and Selina and breaks it down in one song. Wonderful stuff.

WONDERFUL TOYS

The only song I don't like too much. I love most of the second half, but the song's attempts to be a catchy jingle just doesn't pan out. I don't think it should have been completely changed. A few elements like "Been there done that...seen all they can see...wait till they get a load of me....the songs zany conclusion" would HAVE to stay, but other than that the song needed some big changes. Random rhymes rarely make good songs, in my opinion.

CATWOMAN SONG

Great song, not my favorite, its probably the best one. It's that song that if the musical had been, would be on all those "Broadway Greats Compellation CDs." Definitely the flagship of the show, I wish I knew who the woman doing the vocals is. She's fantastic. Just with her voice, I bought that she was the Catwoman, without any questions.

WE'RE STILL THE CHILDREN WE ONCE WERE

Embodies the down note quality that Batman carries throughout his nightly pursuits. Like the conclusion of every good Batman story, the day is won, but there is something, big or small, that makes the victory seem hollow. There is always a price to pay. Well Done.

CRY BABY CRY

A bit short, I'd like to have seen more of a reprise to GOTHAM CITY, showing how Batman has affected the city, but for what it's worth, it's a great conclusion. It doesn't over do it, but gives you enough to wish to see the characters one more time.

CONCLUSION

It was a shame that this show never came to be, but at least, I know it existed. A few months ago, I had no idea these songs were ever made, and I think it's had a great impact on my fandom of the Dark Knight. That's what's great about it. It left a mark. One I don't want to conceal.

ED. Karine Hannah sang the vocals on "Catwoman Song"

Gotham Knight Film Reviews

BATMAN (1989)

Warning: Nolanites are encouraged to look no further

1989 was called the Year of the Bat, and not without good reason. That year, and every year since then, whenever superhero films are made, BATMAN always comes up, whether in positive or negative light. Comparisons are always made. That alone proves its greatness, and how it will forever be the film that made the Superhero franchise a permanent establishment, love it or hate it.

In 1978, Richard Donner's SUPERMAN: THE MOVIE took audiences by storm. Backed by screen legends Marlon Brando and Gene Hackman, Christopher Reeve made us believe a man could fly, and could do so without being a completely laughable experience. While it did have its moments, and in recent years it's easy to place a date on it, the film proved the concept of masked and/or costumed men could be done, and done well. Of course, it also proved how quickly things could turn ugly, on and off screen. The producers, not wanting to deal with the monetary demands of Brando, cut him out of the sequel, to which all of his footage had been shot during the first film's production, and fired Donner, replacing much of the second film he had already shot. SUPERMAN II, while staying afloat as a good film, didn't carry the gravity of its predecessor. A blockbuster hit, it managed to spawn two more sequels.

SUPERMAN III and IV were disastrous to say the least, and in the late 80's a comic book film would be risky, it would be a big chance.

Remember, SUPERMAN: THE MOVIE proved it could be done.

BATMAN took the next pivotal step. It set a tone, and standard that would influence all major success (00-present) in the genre.

The review: From the word go, this movie is different. It quickly breaks the formula of following the hero around and watching his every step. Instead, the view must see him through the eyes of those both in terror and in awe of his sinister presence in the alleys.

It has always been standard that the hero be tracked throughout the entire film in thematic action adventures, cutting back and forth to a villain, whose scheming and over the top manner garners him the bulk of the audiences desired attention. Because one becomes so desensitized to the hero, the point of thrills and chills becomes the villain who dances in and out of the picture, commanding the scenes when he is with the hero, always making a bigger and better entrance, and getting the better dialogue. BATMAN completely flips that coin. In the film, you follow Jack Napier in his plight into madness, all the while cutting back to the melancholy mansion of Bruce Wayne as Vicki Vale attempts to break into the locked and withdrawn places of his mind. The viewer cannot help but be more intrigued by this obviously traumatized and imperfect man. As if in Vicki's shoes the viewer asks of him:

Who are you?

Why won't you let me in?

And most importantly:

Why are you the way you are?

Oh and did I mention, there's a six foot bat in Gotham City! Where the flip of that coin (Discussed earlier) comes to true "actiony" fruition. You never even know when or where the Batman will make a grand entrance ("Wonderful Toys"), completely controlling the scene once he enters, even if only for a few brief moments.. HE is the point of FEAR, enveloping the viewer in the experience.

The flipping of roles does well with the personalities of the two title characters, Bruce Wayne/Batman and The Joker. The Joker wants to be seen, and tries to take up as much screen time as possible, meanwhile The Batman represses himself, not wishing to be seen, rising up only to cast a shadow onto the heart of evil.

The film triumphs again in capturing the depression era from which the Batman was spawned, and meshes with modern day, making it impossible to discern when or where it truly takes place, our past, or the not too distant future of an alternate reality. The 40's gangster clothes and clunky, yet human form of the Batman costume achieve a timeless journey into Gotham City.

The key to this film is that it isn't designed like a garden-variety film. Much like the distant films of the past, it commands more of you. You have to pay attention to finer details as the story progresses, unlike Batman Begins, this film won't hand you a characters personality on a silver platter, you have to watch each step a character makes, and much is left open for your mind to interpret. In the end, it's up to you who the Batman is. Is he a dangerous psychotic? Is he a hero? Is he a brutal vigilante? It is up to you.

BATMAN RETURNS (1992)

After completing BATMAN, Tim Burton went to work on what would become a classic coming of age tale, EDWARD SCISSORHANDS, hitting theatres in 1990. From that film he would develop what would become his trademark style for his many films to come, including the unnamed BATMAN sequel that fans were buzzing about almost from the second the first picture exploded in the summer of 1989. Of course, WB executives approached him about dawning the director cap and once again visiting the dismal world of the Dark Knight. At first, Burton was hesitant, believing he'd said all he had to say about Batman. However, he was coaxed into the idea at the possibility of it being a more personal, 'Tim Burton' film. Interested in the idea of shedding the 'studio' feel of the first picture, he went to work. After rejecting a script by BATMAN writer Sam Hamm (whew! Anyone who's read the BATMAN 2 script knows what I mean by halleluiah!) Burton had Daniel Waters pen what would eventually come to be called BATMAN RETURNS.

Return he did.

In this reviewer's opinion, what Tim Burton and company created is the greatest Superhero film of all time, bar none. (Explained in detail at conclusion)

Oh sure, the film has it's fanboy critics, claiming that its just a 'Tim Burton' film, and not a 'Batman' film at all. I disagree to the fullest extent. With more ability to do so, Burton did what any great director would. Any director with any sense wants to make a film as personal as possible. It's the utmost importance to a filmmaker to feel what they are working on. True, Burton's style is unique and often quirky, but I believe that style of filmmaking fits Batman better than anyone else's who has taken the reigns of the director's chair on a caped crusader film project.

The Review

From the word go I love the film. Rather than taking place right on BATMAN's heals, it takes place some years later. Gotham has changed a lot since we last left it. Things seemed to have gotten better because of Batman's influence. But, there's an evil white-collar crook looking to take Gotham by storm, sucking the very life from it for his own twisted means. Little does he know, a true underworlder will offer him a deal he can't refuse, and a scorned and murdered employee, victim of his will to keep the plan secret, will take her revenge. Batman must destroy a host of evil alliances while wooing Selina Kyle and battling the erotic Catwoman. However some victories are hollow and empty despite what good is done for the sake of a city.

Cast

Michael Keaton is the perfect Batman. He's dark and mysterious. His presence onscreen makes the audience wonder if he indeed was aware of them. Batman, now more geared as a hero, is still terrifying and vengeful for Gotham's salvation. He plays the Bruce Wayne role quirky and out of place, perfectly portraying that the Wayne personality is quickly becoming little more than a part he plays when not Batman, and often badly. When discovering the similarities between himself and Selina, it begins to make Batman consider he can be himself around her, giving Bruce Wayne new meaning as a person, without having to hide behind ill-fitting facades.

Michelle Pfeiffer effortlessly portrays the complete differences between Selina before and after her murder and resurrection. At first, she is meek and unimportant, completely an underling. Then, she is pushed head first into a new life of dominance, eroticism, and revenge. However, her humanity stays stead fast as she meets Bruce Wayne and sees a place where she can handle all of her vengeful feelings with someone who understands. However, her desire for death proves too great, parting them, at least for a little while. Personally, this reviewer thinks she didn't stay away for too long, and the battles and loves began again, and perhaps a stalemate was found where the two could meet on some level, and achieve some kind of continuance in the rocky relationship put on hold one cold Christmas eve.

Danny DeVito methodically enters the life and world of the Penguin. He generates a sad humanity and the same time a grotesque monster all in one physically and mentally damaged shell. The character grew a lot in the translation, and was no longer just a little man with a top hat who stole jewels. He was so much more. He was the same intelligent man, but twisted and turned inside a retching speak and horrific deformity. Abandoned and alone, he rises up to take his revenge, doomed by the sins of the father.

Christopher Walken is pure evil. The focal point of all the insanity without a shred of humanity can be found on the face of Max Schreck. Much like Jack Napier, he has no goodness or kindness in his soul. There is only himself and his desires. Walken delivers one of his greatest performances as a calm cool collect madman who is in complete control until the very end.

The Music

Danny's music takes new heights. It's no longer an action score; rather, it is a dramatic one, filled with swooping melodies and dark themes. Fear not Batfans, the boisterous march of the Dark Knight finds its place, erupting forth to send chills up your spine as the Batman brings order to the chaos. Truly, without Danny, the world created in BATMAN and RETURNS could not exist effectively.

Conclusion

I stated earlier that this film was the greatest superhero movie ever. Strong words, and I won't neglect reasoning. BATMAN RETURNS has one of the most complex and riveting character studies ever seen in a film of its genre. While maintaining the same flipping of character roles in keeping The Batman suppressed (See BATMAN Review), you not only get an in depth look at three other characters, but from those characters, you get a piece of Batman himself. Through the Penguin, Catwoman, and Schreck, you get the three sides of Batman's personality while at the same time diving into their stories.

From Max Schreck, you see the joyless millionaire, surrounded by coldness, from Penguin, you see the scarred orphan falling into the darkness, and from the Catwoman you get the clash with revenge (Reflecting Batman's journey in the first film) and duel identities. All the while, seeing Bruce continue to brood, fight, and romance in vain against dark forces. Meanwhile, an awe inspiring plot unfolds, converging to one of the most dramatic climaxes ever seen in a hero genre film as Batman/Bruce pleads with Catwoman/Selina to come with him, to abandon the same dark path he has lead for so long, unable to reach her. The film concludes, carrying the solemn down note ending that is Batman's life. Yes, Gotham is saved, but at the cost of yet another piece of Bruce Wayne's soul.

BATMAN FOREVER (1995)

BATMAN FOREVER is the GREATEST BATMAN MOVIE...

NEVER made. (Actual common Internet name)

I am of course, referring to Tim Burton's Batman Forever, which he worked on until WB executives decided to dump him. (Its rumored he cast Robin Williams as a Riddler who had a question mark shaved into his head, and a returning Catwoman. Drools.)

When Batman Returns, the greatest Superhero film ever made in my opinion with Batman (1989) its only competition, hit theatres there was an immediate backlash from those who thought the film was too gothic, dark, gross, and not for children. And like the firing of Richard Donner (Superman, Superman II: Donner Version [On DVD, you gotta get it],) Burton was booted off the project (in favor of lightening up the franchise.) This proved to be the beginning of the end. Joel Schumacher, director of such great films as A Time to Kill, Falling Down, and Phone Booth, was given the project.

At the very beginning, all seemed well, even after Burton left. Michael Keaton stayed with the project, and had come in for costume fittings under the new director. However, after he received the script to Batman Forever, he left. The studio offered him a rumored 6 million, HUGE money at the time to return to the picture. He refused. Anyone see the dismal picture being painted yet, or the curse of "Third Superhero Film" establishing itself?

The Review:

I'm going to start with what's good about Batman Forever first because it's a very short list. In fact there is only two things in my opinion. Well, two and a half maybe

1. This film manages to carry the progression of the Batman character from previous films, as he takes in Robin. He reevaluates his brutal methods when he sees the young Grayson taking the same path and in the only GOOD scene in the film warns Grayson not to make the same mistakes. "You make the kill...another and another."

2. The film manages at its basic structure to have a fairly decent plot.

2½. The BEST lines in the film are a homage to Batman (1989)

"Your parents weren't killed by a maniac."

"Yes they were." Still gives me chills.

Now, the film's failures. So this doesn't turn into an incoherent rant, I'll break this up into the separate aspects, from cast to production design, to music.

The MIS Cast

Val Kilmer as Batman. He's a great actor. But in this picture, I saw no true darkness in Batman and no depth to Bruce Wayne. Kilmer essentially slept his way through the role. While I don't think he was the worst Batman, it is strange how he left no impression on me really. Even Clooney left an impression. A bad one. But it was still there...tangible

Nicole Kidman as Chase Meridian. Like all of Schumacher's theatrical over the top pieces, he showcases how he can't accurately picture or develop a woman character. Like his version of Christine Daae, the Kidman character is far too feminine. And she's a major hooker. Even in skintight plastic with a whip, Michelle Pfeiffer managed to be not only charming and sexual, but provocative, sympathetic, and a worthy love of Batman. Not another bimbo in the long line of Bond girls in Bruce's sack. A persistent, permanent lover. She didn't come off like some two bit prostitute. I like Kidman. She's a fine actress. Schumacher takes the fall on this one. Poor Poor direction.

Tommy Lee Jones as Two Face. Probably the only man actually right for his role. Well, a version of this role. Not the stupid cartoony version in the film. Complete waste of his talent, this was the saddest falter of the movie because Harvey has so many layers, and Tommy Lee could really bring them out with the right man behind the camera. Problem one is that we don't get ANY time with Harvey, to grow to understand and care about him. He appears as Harvey in a brief news story in the film. VERY brief. Other than that, the character looks awful, like some Club Kid from the 80's. Also, no disrespect to Tommy Lee, but wasn't Billy Dee Harvey Dent? (I'll get to those kinds of issues in the conclusion)

Jim Carrey as The Riddler. While I like the idea of Rids obsessed with Bruce Wayne, someone needed to give Carrey something to bring him down. Like with one of his comedies, he over acts from the first time he opens his mouth. He jumps all over the place dropping one liners, basically owning the movie like one of his comedy vehicles such as Liar Liar or Ace Ventura. Quite frankly, I found him embarrassing to watch.

Chris O'Donnell as Robin. I hate Robin. I've never liked his character and see him as the watering down of a legend. That said, I actually kind of dig the older version of Robin character, even though that would make him Nightwing. But, for some reason, I find him just oddly annoying in this film. Not sure why. To Quote Dr. Evil, "...a certain, I don't know what."

A badge of honor goes out to Michael Gough for busting out a rock solid performance. He was completely off the charts spectacular and it's a shame he got trapped in this.

Production design can be summed up as follows. A bad, zany acid trip in some techno night club.

Music. It sounds like they recorded about five minutes of score, and just kept repeating bits of it through the picture. Danny, where are you!!!

In conclusion, the worst thing about this film is its inability to hold up as a SEQUEL. It breaks every rule set before it in previous films. Everything that could be redone WAS redone. Look, I know it was Schumacher's vision, but you have to work within certain confines established in the film before. I hate that people insist on lumping the Burton films into the same continuity with Schumacher's. If I can only have one wish granted in the old Bats Franchise, its that a press conference is held to disjoin the Burton from Schumacher. It was two different stories. Period.

A few random thought.

I'll get drive thru...

Bruce get shots in the head and lives. What?

The Batmobile. Ugh

Brain Drain?

I'LL GET DRIVE THRU

Fin...

BATMAN & ROBIN (1997)

BATMAN FOREVER made considerably more money than BATMAN RETURNS because in my view, the Burton films were not only ahead of their time but the bulk of the 'comic book fanboy' audiences (I'm a fanboy too, but not in the same crazed loyalist way) watching them had no interest in getting a real depiction or character examination of a scarred psyche.

Instead they wanted the typical, worn out above and beyond righteous 'super' hero, which Batman is not. This trend would ultimately lead to Christopher Nolan's Begins films, which shows Batman as an overly idealized (Batman an idealist? Since when Mr. Nolan? He's a realist.) hero morally bound to societies definition of law and morality (The laws that failed him mind you. I don't know about you, but if I were scarred psychologically to the point of stalking the night as a Bat, I'd have a real passion for bringing crooks to police in a 'net' and upholding laws that are horribly inadequate, particularly in Gotham City. Ultra real franchise...pffft. You can confuse teenagers and Roger Ebert with that nonsense, but not anyone with any sense of reality.) Okay, so I've gotten a bit ahead of myself, but its important to discuss how the search for a overly fictionalized, morally Superman-like Batman (That's right, I said it) started with Schumacher and has ultimately ended with Nolan's so-called 'ultra realistic' mess.

Anyway, with the success of FOREVER, another film went into the works. Val Kilmer dropped out due to scheduling constraints (Yeah right, I bet that's his polite way of saying, 'I hated the script and didn't want it to mark my career.' Didn't care for his Bat but good move Mr. Kilmer, get off the ship that was already sinking when you came aboard.) Long story short, after getting George Clooney, and the new villains, the cast was set, they made the movie, so on and so forth.

You know, there are a lot of tasteless reviews out there concerning Batman & Robin...

Here's another one...

For a long time now, I've tried to put my thoughts together on how to review this film. At one point I considered listing all the things I hated about it numerically, but I will never have enough time. Forgive me if the review is brief. Most of my opinions are frightfully direct and to the point in this case, not necessitating further explanation. I can say, without reservation, that BATMAN & ROBIN is the worst film that was ever made by a studio, bar none. The depression era films depicting flights of patronizing fancy about getting into money and high praises during musical numbers doesn't even come close. Even if you put aside the misinterpretation of Batman, its STILL the worst film ever produced by a studio. Just for a moment, set aside the light campy Batman and consider that this version was an incarnation direct from the 60's comics that were taking their cues from the show, so it's valid in a certain sense. Even THEN, even when you try to view it as a parody, it STILL makes one sick to their stomach.

The Review.

It's a mish mash of incoherency, lack of plot mixed with stupid clichés that segway in more pointlessness, bad acting, nods to the worst TV show of all time, and obvious toy marketing.

I wish I could say more than that on the overview, but I don't like using too many four-letter words in my reviews. Sorry. Maybe someday I'll give you an unedited, Tony Montana version.

CAST

George Clooney is a MARVELOUS actor and director (Good Night and Good Luck.) But he wasn't a good Batman. Hey, he admits it fully and has moved on to make many great films. Because of that, I refuse to bash him for it.

Alicia Silverstone is a poor actress. Period.

Uma Thurman is a great actress, but under Schumacher's direction follows suit in acting like she's in front of a kindergarten class

Arnold belongs in big actiony films in which he kills many people in camouflage or in comedies. Other than that, he ceases to be entertaining.

Chris O'Donnell still makes my skin crawl.

Why bother with anyone else...

Same five minutes of music.

The acid trip sets complete their metamorphosis into a complete drug overdose.

To wrap this all up, I wish to address Joel Schumacher and the WB (Like they will read this.) Bare in mind this is merely the opinion of this reviewer. Mr. Schumacher you stole what was to be the greatest Superhero trilogy of all time from Burton Batfans, for that you will never be forgiven. Oh, people have tried to make excuses, the popular one being because so much was cut out of FOREVER, you deliberately ruined B&R. If that's true, in my opinion, you're a hack who'll go to any lengths to be vindicated when you don't get your way even if that means jeopardizing the careers of those working under you, including actors, set designers, script writers, etc and that means you shouldn't be a director at all. Or maybe you thought it was really good...I don't see how...Either way, shame on you.

And WB, what the hell were you thinking?

Sigh...fin

from yniehr

I'm so happy to have found this site and been able to listen to those rare demos. I've been listening to them a lot now lately, so I felt like writing a review myself...

Gotham City/Graveyard Shift

Is a little bit too positive sounding for me. The gothic tone and the Latin choir fit in here perfectly, but I think the music isn't appropriately dark enough yet for a Gotham City theme. Nonetheless a fitting opening, the "Angels Arise" interjections are beautifully done. Certainly one of my favourites. As for the following "Graveyard Shift" - didn't like the melody that much, but it works well as introductory song for the Caped Crusader.

In the Land of the Pig, the Butcher is King

I heard this song on BAT 3 first. It was weird yet fascinating. I think Meat's version is a lot better than the one to be heard here. The opening alone - the swelling strings followed by those heavy metal chords - set the tone perfectly. I could have imagined this moment as a perfect opening for the show itself, actually. Meat's version lets the corrupt bastards who run Gotham City come to life before my eyes, looking down on that rotten town from their towers (it actually reminds me of Max Schreck's tower in "Batman Returns" and Frank Grissom's in "Batman"!) The electric rhythm of the demo version just doesn't do it for me. I gotta admit, though, that the chorus and the bridge works a lot better here.

Not allowed to love

The weakest of the songs. Maybe this would work on stage with a decent setting and stuff, but the way it is presented here, I just can't imagine it in a Batman musical, sorry. It sounds way too positive and trivial. Haven't heard the Pop or Dance version yet, though.

Joker's Song

This song manages to really capture the Joker's prankster quality. Although the melody isn't all too catchy, it has definite showstopper potential. I can imagine this very well being sung by the Joker to his henchmen who dance to the song in a moronic fashion. Also, the ad-libbing part is hilarious. If the reckless viciousness of the Joker can be combined with his portrayal in this song, the character would work on stage really well.

I need all the Love I can get

Probably my favorite of the set. I can see it before my eyes: Catwoman strolling through a jewelry store grabbing everything she can (btw, I like how this portrayal of Catwoman would be closer to the comics, where she actually was a jewel thief - albeit the motives were different). The up-tempo interjections have cat-like dynamics, and melding with the softer chorus, this song defines the character of Catwoman beautifully.

We're still the Children we once were

I don't really like the idea of changing the Bat mythos by having Batman and Catwoman both spawned out of the same traumatic experience (namely the death of Bruce's parents). This gives me the feel they have more of a brother-sister-connection than being possible love interests for each other. The song, though, is wonderful for what it is. It's haunting, sad and touching if you imagine Bruce and Selina singing this arm in arm, their twisted alter egos forgotten for a moment. Reminds me of the climactic scene in "Batman Returns" - Batman reveals his true identity to the woman he loves, right before she dies. This song definitely delivers.

Cry to Heaven

Wonderful sad ballad/lullaby. Would definitely work with a very minimalistic arrangement, I guess. I think this should be kind of the core melody of this musical, a mournful sob, yearning for a glimpse of hope in this work of mad darkness. Perfect.

All in all I'm slightly disappointed by those demos. They lack the complexity and rich textures of the Batman characters. There'd have to be a lot more character development to make those characters work onstage, especially since the actors that played them in the movies gave such strong performances (especially Pfeiffer - her Catwoman remains one of the best comic book movie characters ever - takes a lot of work to recreate this on the stage!)

Also I'm not really fond of the book. The idea to have both Joker and Catwoman featured in the musical is perfect, but judging from the description of those demos it's done in a rather bland fashion that I, being a huge fan of Burton's Batman films - am not too fond of. I do sense LOTS of potential in those songs, though - after all, if there's someone who can capture the dark and gritty feel of Gotham City and its characters and turn it into a convincing musical experience, it's Steinman!

I wish he'd do a concept recording, recasting Karine Hannah and Rob Evan, composing some more material, doing it all with a real orchestra, band and choir. Would be a great nod to the fans since the musical doesn't seem to be happening anymore. But I'm also excited about all the other projects Jim is currently working with - maybe he'll think about the idea of a "Batman - Concept Recording" another day...?

Thanks for reading!

from Mr. Writer

... I've been living with these songs now for a week. I listened to them to and from work, and Copenhagen turned into Gotham City before my eyes. It was a feeling that everything I had wished to get when I bought the "Bat 3" album - and did not get - I found on this record. I wish that Jim would do it as a concept album, even if he never produced the musical (a la "Songs from Heathcliff" was made by Cliff Richard years before the musical came out.)

Gotham City/Graveyard shift:

Wow... the music is so amazing, and to me this was the very best part of the record. Especially the opening made me really see the buildings of Gotham for my inner eye. I love the blend of the soprano, and the chorus - it felt very grand and big. The second half was not so impressive as the first, but Batman's solo still gives him a feel of being lonely and working hard in a cruel world.

Joker's song:

A spectacular rant! This to me spells a lot about the Joker's madness. The way he jumps from topic to topic, and in the end how his laughter just takes over and breaks his song into fragments - is so very true to the character. The sound was fast paced and reminded me a lot of my old favorite "Dance in my pants". And of course the exit line is fantastic.

Catwoman's song:

I was a little disappointed by this, maybe because that "all the love I can get" mantra is a little too sweet to me, a little too much "wuthering heights" (where it was used a lot). It has been commented elsewhere on the site that it seems disjointed, and I agree with that - but it does have a good tune, on occasion. But probably my least favorite of the music.

Land of the pig:

I heard this one on the "Bat 3" and had no idea it was actually Jim's work until I read the inner cover. I thought it was weird and disjointed, and kind of odd. Then, I heard this version, and I heard what the hell it was supposed to be about - and now I am humming it constantly! In some ways, it gives me a little chills. I feel the chorus on this song works a lot better than Meat Loaf's louder version - it just seems more evil, somehow...

We're still the children...:

Wow - this song I actually had to stop and wipe my eyes over - I have this amazing picture in my head of Batman holding Catwoman in his arms, and pulling the masks off them both before singing, to show her his face and that they are the same children as before. And the last sigh, which to me is when she gives up the spirit... oh man, how powerful. To me, this is probably the most emotional of the pieces, and the one I have heard the most times.

Cry to heaven:

I guess I'm the only one that likes this one. When I heard that there were 2 songs from Batman on "Bat 3", I immediately thought this was the one of them. I saw it as a song by Alfred to a young Bruce Wayne, and see it repeated later by Bruce to Selina, maybe at her tomb. I like it a lot in every incarnation, and think it is a beautiful closing.

Let me by the way make a small note on the "Bat 3" thing - I had almost worked myself up to believing that "Carpe Noctem" was going to be reused in this musical - listen to the lyrics of that song - it fits surprisingly well to a Batman story.

ED. "Carpe Noctem/Seize The Night" was written for "Batman Forever" (1995).

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CAN'T WAIT!