The latest in a fairly long line of animated adaptations or interpretations of the Batman mythos to be brought to the screen; The Dark Knight Returns was based on the four-part 1986 graphic novel brought to life by the now legendary Frank Miller. The very man whose formidable talent brought forth such renowned works as; Sin City and Watchmen to name but two, he seemingly had no involvement in any advisory or technical capacity. And if this full-length version, (it was originally released in two chapters on two individual DVD releases) is anything to go by, he needn't have done so as it remains irrevocably faithful to its source material.
It focuses on how Bruce Wayne (voiced by; Peter Weller best known for his iconic role in 1980's sci-fi action hit; Robocop) who has long since retired after the untimely demise of Jason Todd; the second Robin feels compelled to return to a life of vigilantism. Gotham it seems is an even grimmer, meaner metropolis that has become more of a breeding ground for crime and is descending into inevitable anarchy. Arguably and some might claim irrefutably the most gritty and uncompromising depiction of the Dark Knight, it doesn't make it any less riveting and complex, all be it implausible.
Adroitly selecting the criminally unhinged Harvey "Two-Face" Dent (Wade Williams) as the early antagonist who partially instigates the millionaire son of Gotham to don the cape and cowl once more; his dual nature is an ideal adage to the themes of the first half of the movie which explore duality. There's Bruce Wayne's double identity as the aged industrialist and the avenging Batman, with the divisiveness of public opinion over whether he is a positive force for change in Gotham or a self-imposed, meddling vigilante menace that is part of the problem rather than the solution. They're handled adeptly via vox pops with Gothamites which are broadcast on local news stations. Derivative it may be but it still has the desired effect. There are also the dual sides of the official and unofficial iconic symbols of justice; a 70-year-old Commissioner James Gordon (David Selby) who is on the verge of retiring with old friend and ally, Bruce entering again into the battlefield streets of their once beloved city. One's on his way out as the other one is finding himself drawn right back in. Their scenes together are relatively sparse but they hit the right note of bitter-sweet poignancy which compliments its darker more brooding tone.
Dent aside; the genuine and more prominent threat in the first half is the brutal and ominous gang which is practically an army of degenerate hoodlums calling themselves; The Mutants. Led by the imposing, towering presence of the maniacal Mutant Leader who as a figurehead personifies their carnal savagery concisely. Not since Bane; have we seen a nemesis that is potentially a match for Batman, but then at 55 years of age, he is irretrievably past his prime. But this is Bruce Wayne and although his physical frame has become more beleaguered with age, his mettle hasn't. Peter Weller with the subtlety of his nuanced vocal performance oozes a quiet resolute firmness that barely seems to waver.
Returning momentarily to the themes of duality, there's the welcome if tried and tested adage of a new Robin; this time gave the then more fresh spin of being a high-spirited (are they anything else?) teenage girl named Carrie Kelly and voiced with likable spunky idealism by Ariel Winter. However, given Bruce Wayne's previous reluctance and the impetus behind his retirement, one wonders if his readiness to accept young Miss Kelly to be his latest sidekick is a means to push forward the plot. It feels like expedience is a rationale for forgoing some semblance of plausibility. All the same, her addition makes for a wonderful story arc.
Commencing with the second half, and with his presence being teasingly hinted at within the first; there is the inexorable inclusion of the once campy referred to; Clown Prince of Crime; The Joker whose vocals are brought to life by Michael Emerson of TV's; Lost and Person of Interest fame. His presence undeniably runs the risk of feeling contrived but this was Frank Miller's story we are talking about here and his figurative resurrection from a comatose state is beautifully realized. That first moment you hear his first few syllables which herald the beginning of the second act; you can't help but feel goosebumps. His personal story of his being incarcerated in a mental facility for an undisclosed period of time in a dormant state and his reemergence are masterfully executed. The incorporation of his therapist; the naively idealistic Dr. Bartholomew Wolper (an ever-reliable Michael McKean) also adds something to the overarching narrative. My one reservation with Emerson's portrayal is while he vocally has a chilling resonance; the iconic laugh just lacks the high-pitched maniacal oomph that Mark Hamill definitively rendered. Nevertheless; his return although brief, its impact is no less bad for it and serves to shine a light on the jaded nature of Bruce Wayne's former idealism.
Entering into the fray; having the torch being passed to her by her successor James Gordon, is new Commissioner Ellen Yindel (Maria Cannais-Barrera) who represents a bold new generation of Gotham law enforcement. Steadfast in her convictions in regard to the law; she has a contradictory code of ethics to her predecessor who she never the less has underlining respect for him as he does for her. It would be easy to portray her as a partial villain of the piece, and while undoubtedly a thorn in Batman's side; her motives are anything if not pure.
Finally, there is the final stage of the film, in which while the arc of the story plays out in parallel with the previous ongoing action; the slightly uneven and shaky relationship between Clarke Kent/Superman comes inevitably to ahead. Once a symbol of hope, he has become something of the antithesis of everything he is supposed to stand for as he has essentially become a weapon of the United States government, answering to; President Ronald Reagan (remember that the graphic novel was published back in 1986). Truth, Justice, and the American way have become glorified buzzwords to enshroud politically dubious intentions. The ultimate battle of two ideologies; that are diametrically opposed adds another layer to the depth and complexity of the overall narrative.
The Dark Knight Returns, however, as I have hitherto affirmed is not a perfect movie, as neither was the graphic novel. With the superhero/comic-book genre a healthy amount of suspension of disbelief is required, although this in my personal view asks a tad too much in terms of Bruce Wayne's waning virility; while there could have been an in-depth struggle with his reconciling in enlisting a new youthful sidekick with the brutal death of Jason Todd. All in all, this is fundamentally an absorbing and richly composite tale that although not officially canon; would make for supplementary addition to the Batman saga. Its vocal performances are for the most part exemplary and its animation inspired, as it strikingly captures the dark, brooding aesthetic of Gotham City. In short; it's required viewing for any Batman aficionado.
It focuses on how Bruce Wayne (voiced by; Peter Weller best known for his iconic role in 1980's sci-fi action hit; Robocop) who has long since retired after the untimely demise of Jason Todd; the second Robin feels compelled to return to a life of vigilantism. Gotham it seems is an even grimmer, meaner metropolis that has become more of a breeding ground for crime and is descending into inevitable anarchy. Arguably and some might claim irrefutably the most gritty and uncompromising depiction of the Dark Knight, it doesn't make it any less riveting and complex, all be it implausible.
Adroitly selecting the criminally unhinged Harvey "Two-Face" Dent (Wade Williams) as the early antagonist who partially instigates the millionaire son of Gotham to don the cape and cowl once more; his dual nature is an ideal adage to the themes of the first half of the movie which explore duality. There's Bruce Wayne's double identity as the aged industrialist and the avenging Batman, with the divisiveness of public opinion over whether he is a positive force for change in Gotham or a self-imposed, meddling vigilante menace that is part of the problem rather than the solution. They're handled adeptly via vox pops with Gothamites which are broadcast on local news stations. Derivative it may be but it still has the desired effect. There are also the dual sides of the official and unofficial iconic symbols of justice; a 70-year-old Commissioner James Gordon (David Selby) who is on the verge of retiring with old friend and ally, Bruce entering again into the battlefield streets of their once beloved city. One's on his way out as the other one is finding himself drawn right back in. Their scenes together are relatively sparse but they hit the right note of bitter-sweet poignancy which compliments its darker more brooding tone.
Dent aside; the genuine and more prominent threat in the first half is the brutal and ominous gang which is practically an army of degenerate hoodlums calling themselves; The Mutants. Led by the imposing, towering presence of the maniacal Mutant Leader who as a figurehead personifies their carnal savagery concisely. Not since Bane; have we seen a nemesis that is potentially a match for Batman, but then at 55 years of age, he is irretrievably past his prime. But this is Bruce Wayne and although his physical frame has become more beleaguered with age, his mettle hasn't. Peter Weller with the subtlety of his nuanced vocal performance oozes a quiet resolute firmness that barely seems to waver.
Returning momentarily to the themes of duality, there's the welcome if tried and tested adage of a new Robin; this time gave the then more fresh spin of being a high-spirited (are they anything else?) teenage girl named Carrie Kelly and voiced with likable spunky idealism by Ariel Winter. However, given Bruce Wayne's previous reluctance and the impetus behind his retirement, one wonders if his readiness to accept young Miss Kelly to be his latest sidekick is a means to push forward the plot. It feels like expedience is a rationale for forgoing some semblance of plausibility. All the same, her addition makes for a wonderful story arc.
Commencing with the second half, and with his presence being teasingly hinted at within the first; there is the inexorable inclusion of the once campy referred to; Clown Prince of Crime; The Joker whose vocals are brought to life by Michael Emerson of TV's; Lost and Person of Interest fame. His presence undeniably runs the risk of feeling contrived but this was Frank Miller's story we are talking about here and his figurative resurrection from a comatose state is beautifully realized. That first moment you hear his first few syllables which herald the beginning of the second act; you can't help but feel goosebumps. His personal story of his being incarcerated in a mental facility for an undisclosed period of time in a dormant state and his reemergence are masterfully executed. The incorporation of his therapist; the naively idealistic Dr. Bartholomew Wolper (an ever-reliable Michael McKean) also adds something to the overarching narrative. My one reservation with Emerson's portrayal is while he vocally has a chilling resonance; the iconic laugh just lacks the high-pitched maniacal oomph that Mark Hamill definitively rendered. Nevertheless; his return although brief, its impact is no less bad for it and serves to shine a light on the jaded nature of Bruce Wayne's former idealism.
Entering into the fray; having the torch being passed to her by her successor James Gordon, is new Commissioner Ellen Yindel (Maria Cannais-Barrera) who represents a bold new generation of Gotham law enforcement. Steadfast in her convictions in regard to the law; she has a contradictory code of ethics to her predecessor who she never the less has underlining respect for him as he does for her. It would be easy to portray her as a partial villain of the piece, and while undoubtedly a thorn in Batman's side; her motives are anything if not pure.
Finally, there is the final stage of the film, in which while the arc of the story plays out in parallel with the previous ongoing action; the slightly uneven and shaky relationship between Clarke Kent/Superman comes inevitably to ahead. Once a symbol of hope, he has become something of the antithesis of everything he is supposed to stand for as he has essentially become a weapon of the United States government, answering to; President Ronald Reagan (remember that the graphic novel was published back in 1986). Truth, Justice, and the American way have become glorified buzzwords to enshroud politically dubious intentions. The ultimate battle of two ideologies; that are diametrically opposed adds another layer to the depth and complexity of the overall narrative.
The Dark Knight Returns, however, as I have hitherto affirmed is not a perfect movie, as neither was the graphic novel. With the superhero/comic-book genre a healthy amount of suspension of disbelief is required, although this in my personal view asks a tad too much in terms of Bruce Wayne's waning virility; while there could have been an in-depth struggle with his reconciling in enlisting a new youthful sidekick with the brutal death of Jason Todd. All in all, this is fundamentally an absorbing and richly composite tale that although not officially canon; would make for supplementary addition to the Batman saga. Its vocal performances are for the most part exemplary and its animation inspired, as it strikingly captures the dark, brooding aesthetic of Gotham City. In short; it's required viewing for any Batman aficionado.