Directed by Brandon Vietti
Written by Judd Winick
Based on the DC Comics Characters Created by Bob Kane and Bill Finger
Adapted from the Graphic Novel by Judd Winick
Executive Produced by Benjamin Melniker, Michael E. Uslan and Sam Register
Produced by Bobbie Page, Alan Burnett and Bruce W. Timm Main Title Design by Erin Sarofsky
Art and Character Design by Dusty Abell and Vince Toyama Storyboards by Christopher Berkeley, Sam Liu, Lauren
Montgomery and Jay Oliva
Editing by Margaret Hou
Original Motion Picture Score Composed by Christopher Drake
Bruce Greenwood … Bruce Wayne/Batman (Voice)
Jensen Ackles … Red Hood (Voice)
John Di Maggio … The Joker (Voice)
Neil Patrick Harris … Dick Grayson/Nightwing (Voice)
Jason Isaacs … Ra’s Al Ghul (Voice)
Wade Williams … Roman Sionis/Black Mask (Voice)
Kelly Hu … Ms. Li (Voice)
Jim Piddock … Alfred Pennyworth (Voice)
Alexander Martella … Kid Jason Todd/Robin (Voice)
Vincent Martella … Teen Jason Todd/Robin (Voice)
Kevin Michael Richardson … Tyler Bramford (Voice)
Gary Cole … Police Commissioner James Gordon (Voice)
Brian George … Ra’s Assistant (Voice)
Robert Clotworthy … Leon/Thug (Voice)
Phil LaMarr … Rick/Bulk (Voice)
Dwight Schultz … Freddie/Drug Dealer (Voice)
A mysterious new player called the Red Hood sets off a
firestorm of gang violence in Gotham City, drawing the attentions of underworld
figurehead Black Mask, the murderous Joker and Batman.
Following the conclusion of “Justice League: Unlimited”
in 2006, several fans were left to wonder what would come of DC Comics
animation.
The regime had begun with 1992’s “Batman: The Animated
Series” and flourished with subsequent follow ups including “Superman: The
Animated Series,” “The New Batman Adventures,” “Batman Beyond” and “Justice
League: The Animated Series.”
For many, this animated DC Universe was and still remains
in a league of its own in terms of narrative quality, character development and
visual aesthetic.
That being said, it was admittedly a hard pill to swallow
that the potential successor to the series was to be found in the likes of “The
Batman” or “Batman: The Brave and The Bold.”
As tremendous as those shows are in their own right and by their own rules, the
foundation of this production team was built upon stories more grounded in the
dramatic than straight up kid’s fare and, rightfully so, Warner Brothers along
with longtime producer Bruce Timm saw fit to offer a possible solution with “DC
Universe Animated Original Movies.”
Enacted with 2007’s “Superman: Doomsday,” this line of
home video releases culminates in the participation of several original
influences from the DCAU including Timm, voice director Andrea Romano and
frequent collaborators Alan Burnett, Glen Murakami and current participants
such as Sam Register and Duane Capizzi.
The films, separate from the DCAU continuity, range from
original stories to adaptations of classic stories straight out of comics and
are often liberated from the regulations of broadcasting with the bestowing of
PG-13 ratings.
To date, Batman holds the title of most appearances with
his involvement in the narratives of eight films out of the current list of
thirteen. Given his current tidal wave of popularity, I don’t see that changing
for the forseeable future.
While “Batman: Gotham Knight” was the first solo Batman
endeavor in 2008 to capitalize on the anticipation for “The Dark Knight,” it
wasn’t until 2010’s “Batman: Under the Red Hood” that the character received
his first feature length film both under the “DC Universe” banner and helmed by
a single director for its entirety (“Gotham Knight,” while feature length, was
split between six filmmakers as opposed to one).
Adapted from the 2005 comic arc of the same title
(technically, the comic is titled “Under the Hood”) by Judd Winick, “Under the
Red Hood” tells the story of a new menace manipulating the gang landscape of
Gotham City.
Becoming the newest custodian to a long-running alias used
by everyone from petty thieves to a certain Clown Prince of Crime, the new Red
Hood (Jensen Ackles) pits the various mob elements up against underworld baron
Black Mask (Wade Williams) to a mysterious end.
With violence mounting, Batman (Bruce Greenwood) and
Nightwing (Neil Patrick Harris) rush to counter the Hood’s efforts before
things go from bad to worse; all the while Bruce is conflicted with the death
of former Robin Jason Todd, who was lost in a battle against the Joker (John
DiMaggio) five years prior.
As the dark knight encounters Gotham’s newest menace,
however, things take a shocking turn when Red Hood’s identity becomes all too
tragically clear.
For many people, the very thought of resurrecting Jason
Todd was a bad idea from the get-go. Sure comics are a realm of heightened
reality and fantasy, where the laws of life and death might not (and certainly
never do) necessarily apply. But “A Death in the Family” is sacred ground for
many fans, symbolizing Batman’s greatest defeat and ranking among the greatest
Batman stories ever told. Doing a follow up is just asking for trouble to begin
with, but bringing Jason back to life is still a matter that splits fans in
debate.
The difference with the character in regards to the supposed
fatalities of other DC heroes is that his death was by choice on part of the
readers themselves in the notorious fan poll of the time. Where Superman’s
death was created by the teams on his books as a large-scale event that never
intended to keep him dead for long, actual readers willingly voted that Jason
die at the hands of the Joker.
As harsh as it can be interpreted, the decision can
ultimately be argued as the right one for several reasons.
The character wasn’t popular to begin with. Having said
that, he was clearly a perfect candidate to demonstrate the reality that Batman’s
crusade would be suspect to casualty and having him remain dead for so long
created a foundation of reality for the “Batman” books.
Sure this Batman still interacts with Superman, but for
the majority of the time Batman’s is a world of actual consequences and repercussions.
If you’re going to make the effort to attribute Batman to a more grounded
realm, you’re obligated to keep that aesthetic going by doing everything from
using scientific explanations for scenarios to having people caught in the
crossfire stay dead like they actually would in real life.
It’s definitely a double-edged sword, to be sure.
The film adaptation of “Under the Hood” is played
straight forward in its faithfulness to the source material with one exception,
namely that of Ra’s Al Ghul’s hiring of the Joker, which never happened in the
comic.
Other than that, it’s loyal to the emotional weight of
the story and molds it fairly successfully for a PG-13 animated venture.
I love Bruce Greenwood’s approach to Batman. An older
character actor most recognizable for his performances as the President of the
United States in “National Treasure: Book of Secrets” and most prominently that
of Starfleet Captain Christopher Pike in J.J. Abrams’ “Star Trek,” Greenwood
rightfully plays Batman older, more refined and weathered.
This is certainly a Batman I can believe in, both in
terms of his actions and reactions. It’s odd; there’s weight to his presence
here and yet there’s also just as much flight to it. It’s a Batman that comes
with experience without losing youthful edge and that’s a terrific way to take
the character with this story.
Neil Patrick Harris delivers as Nightwing and, despite
having little to do beyond the first conflict with Amazo, he somehow
embellishes Grayson with the same qualities Greenwood does for Wayne.
The odd duck for me here is John DiMaggio as the Joker;
like Kevin Michael Richardson in “The Batman,” the voice might be just a bit
too low in pitch for my taste.
This, however, brings to light a larger issue. Well not
so much an issue as it is a point of interest and a refreshing rarity.
“Under the Red Hood” is one of the few instances where I’ve
found myself genuinely more invested and interested in a villain other than the
Joker during a story in which the Joker is an active participant.
Now I’m fully aware that nearly all of Batman’s prominent
rogues are intriguing and engaging characters with the right approach and
material. Being his greatest adversary, however, lends itself to the Joker
quickly and most often becoming a show-stealer if he’s involved.
Here, nothing of the sort happens and yet one of the
flaws of “Under the Red Hood” reveals itself with the narrative almost acting
as if it’s trying to force it to happen.
I’m fully aware of how integral the Joker is to the Jason
Todd story, but I found myself disappointed that all of the intrigue and effort
Red Hood puts into his plan is deflated when the plan is just reduced to
getting closer to the Joker and killing him in revenge.
The moment is saved when Jason attempts to force Batman
to make the kill but to me it just feels like the movie wants me to focus on the
Joker when I don’t want to.
When I say I don’t want to, it’s because I found a far
more interesting villain in the film with Black Mask. I loved how he was
handled, both in Wade Williams’ performance and his operations within the
narrative. The only shortcoming is his actual design; they should’ve gone a
little less Tony Montana and a little more Al Capone.
Aside from that, Mask is just a treat to watch. His attitude, his mannerisms and his temper are all wonderfully conceived and calibrated in this showcase.
"I hope you understand the trouble I've gone through to arrange this little get together here. A lot of money. A lof of dead meat."
I don’t know; maybe it’s all residual and I had just been
building up all this time as far as story after story feeling pressured to fall
back on the Joker that I was ready for another rogue to get the limelight.
The visual style of the film is great and rightfully dark
and moody, combining contemporary urban landscape with gothic flare such as the
monstrous cathedral as part of the film’s climax. Other stand out locales include Black Mask's high-rise office, rich in its color palette and especially the Batcave and Arkham Asylum, which came out great. I suspect that this version of Arkham was somewhat inspired by Rocksteady's mega popular video game version from the year before.
I also love the approach to Ra's Al Ghul's mountain based citadel; it fits the longevity of the character and is wonderfully rendered.
The action is intensely paced to say the least.
The rooftop chases between Batman and Red Hood are
kinetic and have incredible rhythm.
And there’s also the awesome confrontation with the
Fearsome Hand of Four as Batman and Red Hood team up to take them out.
But of course my favorite scene HAS to be the finale of
the piece, in which Batman faces Jason in a rundown apartment before being
given the ultimate decision. This scene is exceedingly emotional and I love
Jensen’s performance here, despite some of the hokey dialog.
“Why? I’m not talking about killing
Penguin or Scarecrow or Dent. I’m talking about him. Just him. And doing it
because…because he took me away from you.”
And one thing I have to say; I love that the film takes
us through this horrible tragedy with Jason before ending it on a note of
fateful optimism as we watch a flashback of him donning the Robin costume for
the first time.
What's interesting here is that in the context of the scene, there's a moment when Jason encourages Bruce for them to get going on patrol.
Looking at it within the context of what happens to Jason and how Batman feels about him and their bond before and after his death, one can almost interpret it as if it's actually the ghost of Jason Todd. But not just Jason Todd; rather the Jason that he wants to remember. The young child with a bright future, uncompromised in his youthful innocence with becoming Robin for the first time.
It's as if it's an apparition Bruce might see nightly. Just as he's suiting up, the ghostly figure of Jason leaps into action with metaphorically as he holds the memory of the boy in his heart.
“This is the
best day of my life.”
It’s just heartbreaking.
If nothing else “Batman: Under the Red Hood,” like
several of the Animated “DC Universe” movies, is a great way to introduce a broader
audience to concepts and characters from the comics like Jason Todd and the
idea of there being multiple Robins.
With its approach as far as adaptations, the format can
also help introduce viewers to the iconic DC stories we all know and love and I
think that’s a positive thing.
Who knows; maybe someone’s interest got piqued enough
that they went and bought the “Under the Hood” trade. That would certainly justify creating these films more than anything.
One can only hope that outcome is the one most favored.
Whatever the case, “Under the Red Hood” is a decent watch
and certainly worth a look for diehard fans of the character.
Composed
by Michael McCuistion, Lolita Ritmanis and Kristopher Carter
Vocals Performed by Neil Patrick Harris, Grey DeLisle, James Arnold Taylor, John DiMaggio, Kevin Michael Richardson, Tom Kenny, Dee Bradley Baker, Jeff Bennett and Diedrich Bader
"Batman: The Brave and The Bold" Theme Composed by Andy Sturmer
Produced
by New Line Records
Track Listing:
1:
"Batman: The Brave and the Bold" Theme – Andy Sturmer (0:32) 2.
"I'm The Music Meister" – Neil Patrick Harris (5:55) 3.
"Drives Us Bats" – Neil Patrick Harris and Various (1:46) 4.
"If Only" – Neil Patrick Harris and Grey DeLisle (2:35) 5.
"Death Trap" – Neil Patrick Harris and Grey DeLisle (1:49) 6.
"The World Is Mine" – Neil Patrick Harris (3:33) 7.
"If Only" (Reprise) – James Arnold Taylor and Grey DeLisle (2:03) 8.
"Drives Us Bats" (Mayhem Of The Music Meister End Credits) – Neil Patrick Harris
and Various (0:32)
------------------------------------
It’s
a testament to the creativity and ambition of the producers and show runners
responsible for “Batman: The Brave and The Bold” when they can take the format
of a half-hour super hero cartoon aimed at young children and incorporate the
beautiful gift of music into it.
Of
course episodes of the show had featured score beforehand thanks to the talent
and effort of longtime collaborators Lolita Ritmanis, Michael McCuistion and
Kristopher Carter. But the Season 1 episode “Mayhem of the Music Meister” raises
the bar tenfold, creating an episode build upon a foundation of orchestration
and vocals that works wonders for creating an incredible atmosphere of cultural
appreciation.
Introducing
young children to music is highly commendable and the fact that it’s Batman
makes it that much better!
Created
in the tradition of musical stage production and attuned to the recent surge of
its popularity with shows such as “A Chorus Line,” “Jersey Boys,” “West Side
Story” and “Wicked,” the soundtrack to “Mayhem of the Music Meister” is
infectious and theatrical, given even more quality with the participation of
cast members such as the welcome Neil Patrick Harris and the lovely Grey DeLisle.
Let’s
take a look at the tracks individually:
----------
"Batman: The Brave and the Bold" Theme
Composer
Andy Sturmer’s theme for the television series echoes the flight and whimsy of
the 60s television series with its brass instrumentation and percussion. To
tell you the truth, the theme reminds me of a lot of the music specifically
from Nelson Riddle’s score to the ’66 movie, especially the material for when
Batman and Robin take to the seas in the Batboat in search of the Penguin’s
submarine. It’s delightfully zany and sets the mood for this animated Batman
each episode with a heroic undertone that plays up his inability to lose.
----------
"I'm The Music Meister"
NOTE: Ignore the Video; the Point is the Song.
As
we open the episode, a collection of foes including Black Manta and Gorilla Grodd find themselves inexplicably forced
into a need to express themselves through the power of song as they come under
the spell of the one and only Music Meister, voiced and performed by Neil
Patrick Harris. I think Harris, with his background in theatre and previous
experience in that community as both an active participant and recurring host
of the Tony Awards, lends himself perfectly to the character. The concept of
the character works very well with the aesthetic of the show and its tone and
this opening number is a reflection of that with its wonderful vocals.
One
of my two favorites off the album, this is just fun and theatricality at its
most infectious. The tempo is rollicking as Batman gives chase throughout
Gotham City in pursuit of the Music Meister and the lyrics are a wonderful
homage to the caped crusader himself, and how he’s so proficient that he drives
both friend and foe berserk. The track is full of swagger and beat; very 80s
eclectic in its pace and presentation and I love the guitar work that plays in
undercurrent. Of course the song works exceptionally well when perceived from
the point of the view of the villains but I find it charming that even other
heroes like Aquaman and Green Arrow get in on the fun, commenting about how no
matter how hard they try, they can never reach the level of respect and popularity
that Batman holds. It’s funny because it’s true. I love DC Comics
super heroes, but they’ve all got a point on this one.
No
Broadway exhibition would be complete without a full blown romantic ballad.
Somewhat campy and deliberately relatable, “If Only” sings a tale of what one
might call unrequited love that befalls a collection of our characters. The
Music Meister sings his portion for Black Canary while Black Canary sings hers
for Batman. It’s a tender moment of vulnerability for these mythic figures as
they vocalize their possible yearnings for one another. However, the song’s
true intent unveils itself as each performer reveals their true love; fighting
villainy and being villainous as per the individual character. Harris’ vocals
are tremendous here, demonstrating the aforementioned vulnerability and it’s a
touching, albeit comical song.
----------
"Death Trap"
Capped
with a hard edged foundation of percussion and guitar that picks up its tempo
from the get-go, “Death Trap” is a playful tip of the cap to the precarious
scenarios the villains always had a knack for placing Batman in throughout
their history. This idea carries with the Music Meister as he lyrically
describes what would possibly be the moving parts of this omnipotent
contraption (“Gears Grindin,’ Ropes Bindin,’ Coils Windin,”) and the resulting
fatality of their operations. The exponentially rising pace wonderfully
metaphors the concept of death inching itself closer and closer, building
tension as a result as we sit in awe, wondering if Batman will make it out
alive.
My
other favorite track from the collection, “The World Is Mine” plays as a
hypnotic counterpoint to “I’m the Music Meister.” The track has a wonderful
sense of pitch and beat; it’s not too fast and the fact that it’s a bit slower,
more methodical lends itself to the villainy of the Music Meister very well.
The brass work is generous and brilliant, flourishing with immense boldness and
brevity. It’s a delightful ode to the villain of the episode and it’s over the
top in all the right ways.
Keeping
in the Broadway tradition, the album comes complete with its own reprisals. As
Batman leaves to fight crime, Black Canary reiterates her feelings for him
while looking up to the Bat-Signal. However, another voice adds itself to the
mix, creating a duet between Canary and Green Arrow. This is a great nod to the
comics, where Dinah and Oliver are well recognized for having a romantic
relationship with one another which eventually blossomed into marriage with
their “Wedding Special” published by DC Comics in 2007. Personally, I find
James Arnold Taylor’s voice a better match for DeLisle and they play off each
other’s emotional fluctuations tremendously.
----------
"Drives Us Bats" ("Mayhem of the Music
Meister" End Credits)
The
album and episode end on a high note with the reprise of “Drives Us Bats,”
which I suspect was meant to be the highlight for the show runners since it’s
given the final word so to speak. Just as great as the full track, condensed and
shortened for the end credits of the show.
----------
With
the gimmick of the Music Meister, the soundtrack to the episode fits seamlessly
with his interpretation and approach.
It’s
just an incredible feeling to know that a property like Batman can so easily
and passionately lend itself to a concept like an episode packed with Broadway
style numbers; again, that just goes to show how durable the character truly
is.
Slightly
criticized for its briefness (imagine that; criticism because there isn’t
enough music!), the soundtrack was critically acclaimed and went on to win “The
Brave and The Bold” an Emmy award for musical excellence in a half hour
program.
A
worthwhile addition to any Batman music collection to be sure!
Ben
Jones (25 episodes) Michael
Chang (17 episodes) Michael
Goguen (15 episodes) Brandon
Vietti (9 episodes)
Episodes
Written by …
Steven
Melching (11 episodes) Thomas
Pugsley (9 episodes) J.M.
DeMatteis (8 episodes) Joseph
Kuhr (7 episodes) Todd
Casey (6 episodes) Paul
Dini (5 episodes) James
Krieg (5 episodes) Adam
Beechen (3 episodes) Jack
Cole (3 episodes) Paul
Giacoppo (3 episodes) Michael
Jelenic (2 episodes) Dean
Stephan (2 episodes) Greg
Weisman (2 episodes) Matt
Wayne (2 episodes) Dani
Michaeli (1 episode) Jake
Black (1 episode) Marsha
Griffin (1 episode) Stan
Berkowitz (1 episode) Kevin
Hopps (1 episode) Alan
Burnett (1 episode) Gail
Simone (1 episode) Alexx
Van Dyne (1 episode)
Based
on the DC Comics Characters Created by Bob Kane and Bill Finger
Series
Executive Produced by Sam Register
Series
Produced by ...
James
Tucker Michael
Jelenic Linda
Steiner Amy
McKenna
Series
Art Direction by …
Lynell
Forestall
Casting
and Voice Direction by Andrea Romano
Series
Editing by Christopher D. Lozinski
"Batman: The Brave and The Bold" Theme Composed by Andy Sturmer
Original
Television Scores Composed by …
Kristopher
Carter
Michael
McCuistion Lolita
Ritmanis
Diedrich
Bader ... Bruce Wayne/Batman (Voice)
James
Arnold Taylor … Green Arrow (Voice)
Dee
Bradley Baker ... Clock King (Voice)
John
Di Maggio ... Aquaman (Voice)
Jeff
Bennett ... Captain Marvel (Voice)
Greg
Ellis ... Gentleman Ghost (Voice)
Tom
Kenny ... Plastic Man (Voice)
Will
Friedle ... Blue Beetle (Voice)
Kevin
Michael Richardson ... Black Manta (Voice)
Corey
Burton ... Doc Magnus (Voice)
Jason
Marsden ... Paco (Voice)
Grey
DeLisle ... Black Canary (Voice)
Jim
Piddock ... Calendar Man (Voice)
Tara
Strong ... Billy Batson (Voice)
Zachary
Gordon ... Young Bruce Wayne (Voice)
Gary
Anthony Williams ... Mongul (Voice)
R.
Lee Ermey ... Wildcat (Voice)
Lex
Lang ... Dr. Polaris (Voice)
Stephen
Root ... Woozy Winks (Voice)
Armin
Shimerman ... Ace (Voice)
Oded
Fehr ... Equinox (Voice)
Scott
Menville ... Metamorpho (Voice)
Bumper
Robinson ... Black Lightning (Voice)
Clancy
Brown … Mugger (Voice)
Kevin
Conroy ... Batman of Zur-En-Arrh (Voice)
Mark
Hamill ... Spectre (Voice)
Neil
Patrick Harris ... The Music Meister (Voice)
Alexander
Polinsky ... G'nort (Voice)
Jeremy
Shada ... Young Robin (Voice)
Crawford
Wilson ... Robin (Voice)
Tom
Everett Scott ... Booster Gold (Voice)
Marc
Worden ... Kanjar Ro (Voice)
Thomas
F. Wilson ... Cat-Man (Voice)
Jennifer
Hale ... Poison Ivy (Voice)
Andy
Milder ... Jay Garrick (Voice)
Nika
Futterman ... Catwoman (Voice)
Phil
Morris ... Jonah Hex (Voice)
Paul
Reubens ... Bat-Mite (Voice)
Billy
West ... Skeets (Voice)
Vicki
Lewis ... Wonder Woman (Voice)
Adam
West ... Proto-Bat (Voice)
Batman
defends Gotham City, the world and the universe at large everywhere and in any
time with the assistance of various DC Comics Heroes, historical figures and
intergalactic entities.
----------------------------------------------
Key
Episodes:
“Rise
of the Blue Beetle!” “Evil
Under the Sea!” “Enter
The Outsiders!” “Journey
to the Center of the Bat!” “The
Color of Revenge!” “Legends
of the Dark Mite!” “Last
Bat on Earth!”
“When OMAC Attacks!” “The
Fate of Equinox!” “Mayhem
of the Music Meister!” “Death
Race to Oblivion!” “The
Golden Age of Justice!” “Clash
of the Metal Men!” “A
Bat Divided!” “Sidekicks
Assemble!” “The
Super-Batman of Planet X!” “Chill
of the Night!” “The
Siege of Starro! Part 1” “The
Siege of Starro! Part 2”
“Requiem for a Scarlet Speedster!” “The
Last Patrol!” “The
Mask of Matches Malone!” “Emperor
Joker!” “The
Criss Cross Conspiracy!” “The
Plague of the Prototypes!” “The
Knights of Tomorrow!” “Darkseid
Descending!” “Bat-Mite
Presents: Batman’s Strangest Cases!” “Joker:
The Vile and the Villainous!” “Shadow
of the Bat!” “Night
of the Batmen!” “Battle
of the Superheroes!” “Time
Out for Vengeance!” “Bold
Beginnings!” “Mitefall!”
----------------------------------------------
As
a fan who’s been suspect to the genesis of Batman from cornball cultural powderpuff
to vengeful Dark Knight, it’s always fun to see the concept of multiple
interpretations take root in actual practice.
When
“Batman Begins” hit movie screens with a darker, more grounded iteration,
television offered lighter fare with “The Batman.” It was as if Warner Brothers
could sense the widespread appeal and sought to give everyone a Batman they
could enjoy depending on which way they wanted to go.
It’s
a smart move on part of the studio, ensuring that no one be made to feel left
out of the fandom while making the effort to aid in the education of fans that
there’s no right or wrong way to interpret Batman.
The
approach worked so well at the time that it was used once more in the height of
appreciation for the character in 2008.
Although,
interestingly and in hindsight, extremity was the way to go both ways.
“The
Dark Knight” created a bleak portrait of Gotham City that was plagued by chaos
and hopelessness privy to the Joker’s madness as it corrupted the proceedings,
destroying everything in its path in a swirl of death and tragedy. This
darkness was only hinted at in “Batman Begins,” pushing the envelope even
further.
And
simultaneously, the same emphasis was put on part of the televised caped
crusader as 2008 introduced fans to “Batman: The Brave and The Bold,” which is
far and away lighter and brighter than “The Batman” ever actually was.
Named
after the popular DC Comics book of the same name that ran in uninterrupted publication
from 1955 to 1983 (with a subsequent mini-series from 1991 to 1999 and a new
ongoing title that’s been going since 2007) The series follows the framework of
the comic by partnering an established Batman with a number of fellow DC Comics
heroes including Aquaman, Red Tornado, Green Arrow, Plastic Man, Blue Beetle,
Metamorpho and several others.
What
I immediately love about this idea is that the show uses Batman’s popularity as
a catalyst for introducing viewers to B and even C-level DC characters they
might have otherwise never known.
It
still retains the focus on Batman, sure, but now kids could walk away from an
episode with a newfound fondness for someone like B’wana Beast or Deadman or
Elongated Man; or, at least, knowledge of their existence.
The
show’s tone is often labeled to be in line with the mid-60s television series
starring Adam West, and I can definitely see that. But it’s far more in sync
with the Silver Age in the comic books more than anything.
Because
of that approach, it’s just amazing to find a Batman heavily influenced by Dick
Sprang’s design aesthetic in the same year of Christopher Nolan’s haunted urban
soldier.
Hell,
a child growing up on a Silver Age visualization of the DC universe is in and
of itself incredible.
From
donning Catwoman in the classic costume complete with a green cape to dressing
Mr. Freeze in the sci-fi spaceman tone he originated in, the visual
approach can also easily lend itself to the treatment of the characters in the Filmation
cartoon series.
This
liberation of whimsy breaks the mold of previous animated encounters, creating
a world where there were no bounds to hold the dark knight or his adventures
back.
From
travelling to distant colorful galaxies to being thrown back into the throes of
time to encountering alternate dimensions and parallel universes complete with their own Batmen, it’s such a wonderfully amped up comic book zaniness that you can’t help
but fall in love with if you allow yourself to.
What
really sets “The Brave and The Bold” apart is that, for several episodes more
specifically towards the end of its broadcast run, it became incredibly
self-conscious about the source material, even more than “Batman: The Animated
Series” or “The Batman.”
This
is demonstrated in one of my favorite episodes, “Bat-Mite Presents: Batman’s
Strangest Cases!”
Overseen
by Bat-Mite, played in a very clever casting choice by Pee-Wee Herman himself,
Paul Ruebens (who’d previously enjoyed a small cameo as the Penguin’s father in
“Batman Returns”), the episode pokes fun at the bizarre and irreverent within
Batman’s pantheon.
First,
of all things, it opens with homage to “Batboy and Rubin,” the Batman parody
that showcased frequently in MAD Magazine specifically during the heights of
the character’s popularity with the 60s show and the Burton/Schumacher movies.
Can
you imagine? The idea of a “Batman” show being so open and receptive to the
character’s history in ALL its aspects that it would willingly acknowledge something
like that is just fantastic.
From
there, we’re given a hilarious romp that hits everything from “Bat-Manga” and
the wild interpretation of the character in the land of the rising sun to a
satirical mockery and parody of the legendary team up of Batman and Robin with
Scooby Doo, rushing to beat Joker and Penguin to a buried treasure left behind
by a long passed mobster in an abandoned theatre.
There's even an inexplicable cameo from Weird Al Yankovic. WHAT!??
Bat-Mite
is rightfully impish and obnoxious when he pops into the show, not unlike his
predecessor from the Filmation show, and Ruebens does a terrific job with him.
I
love the moment of mischievous deviancy when he tries to convince Batman of how
glamorous his battle with the Joker has been through the years. That moment
when he nods to the death of Jason Todd as a result of calling in to vote,
which actually happened with the comics in reality, really hits home just how
crass the character is.
“Guess
how I voted...”
The homages didn't end with Bat-Mite, as the show sought to pay dividends to several incarnations on multiple occassions, such as the wonderful scene that features Batman battling against a brain-washed Superman while armored in the supped-up Batsuit straight off the pages of their conflict at the end of Frank Miller's "The Dark Knight Returns!"
Given
the aesthetic with this incarnation, we’re given a Batman that exudes
overconfidence to a point that’s almost frustrating; I love the character, but
it’s clear that he wins the day because the scripts demand it.
Even
so, Diedrich Bader lends his pipes very well to this authoritative caped crusader
and he clearly dominates the show as it rests on his broad, caped shoulders.
“The
Brave and The Bold,” as with all animated projects from DC Comics, gained the advantage
of having a tremendous laundry list of guest stars and talented recurring voice
actors.
As
a long time Kubrick fan, it was great to hear the iconic grizzled edge of R. Lee
Ermey, perfectly suited for the boxing legend turned hero Wildcat.
Neil
Patrick Harris, stemming from his roots both on Broadway and in fan favorites
such as Joss Whedon’s film “Dr. Horrible’s Sing-Along Blog” lends his
delightful theatricality to the lovably villainous Music Meister in one of the
show’s most critically acclaimed episodes.
The
legendary Kevin Conroy returns to the booth to provide the voice for the galactic
Batman of Zur-En-Arrh and Adam West, still going strong after over forty years,
plays the role of Proto-Bat. What’s interesting here is consider such longevity;
how bringing Adam back into the Batman property with the Grey Ghost when Kevin
was starting out has now translated to Kevin as well with his cameo work both
in “The Batman” and here.
The
show even manages to scoop up a two-episode performance from the Clown Prince
of Crime himself, with Mark Hamill lending his talents to the otherworldly
Spectre.
The
music of “The Brave and The Bold” is admittedly one dimensional and cartoony
but given the mold of the show, it’s no surprise. The theme composed by Andy
Sturmer is delightfully infectious in its own right.
In
spite of the darker psychological layers added to the character over the years,
Batman is, in essence, a creation of comic books. Comic Books are built upon a
foundation of being fun and “The Brave and The Bold” is just that.
Zany,
colorful, bombastic FUN!
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Chas Blankenship's 'Bat-Mania' 2012 is Proud to Present "Bat-Mite Presents: Batman's Strangest Cases!" from "Batman: The Brave and The Bold."
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