Batman (1989) Cinematography and Visual Analysis

Silver Nemesis · Sun, 1 Oct 2017, 21:21

A while ago we had some interesting discussion about cinematography, mise-en-scène and visual motifs in Batman Returns. This thread is to promote similar discussion with regards to Batman 89. I'll kick things off with some basic technical info and observations, but by all means feel free to pitch in with your own contributions. Some of this will be stating the obvious, but let's be as comprehensive as possible.

Batman 89, like Batman Returns, was shot open matte using a spherical lens and then matted for a projected 1.85:1 aspect ratio. If you happen to see an unmatted print of either film, you might notice certain fluffs that were meant to be cut out of the projected shot. For example, Michelle Pfeiffer crouching in the foreground as her stunt double flips towards the camera in Batman Returns.

Joel Schumacher's Batman movies were also shot with spherical lenses. Christopher Nolan was the first filmmaker to photograph a Batman movie using anamorphic lenses.

DP Roger Pratt shot the film on Eastman 400T 5295 film stock, which has a higher degree of granularity and less exposure latitude than the EXR 100T 5248 used by Stefan Czapsky on Batman Returns. Consequently the picture quality is not quite as good as in Burton's second film and is noticeably grainer. The contrast between light and dark also isn't as distinct as in Batman Returns. The stark chiaroscuro lighting in Burton's second Batman film is typical of German Expressionist cinematography, while the lighting in the 1989 movie is more typical of film noir.

An image we see a number of times throughout the film is the exterior of Axis Chemicals. Here we have a composite shot comprised of both full scale and miniature elements. The full scale elements in the foreground have been photographed at 24 frames per second, while the miniature elements in the background have been shot at 120 fps. But the consistency in lighting makes the fusion more or less seamless.

The film also makes extensive use of matte shots, often combining paintings with full scale live action elements to make the environments seem larger.

Filming the Gotham scenes on an outdoor back lot allowed Burton to use natural daylight for the exteriors; an advantage he didn't have in Batman Returns, which was shot entirely on a soundstage. The difference between the natural daylight in Batman 89 and the artificial daylight in Batman Returns is quite obvious. Also note the grainier texture to the Batman 89 picture quality.

Most of the interior scenes are illuminated using low-key lighting, particularly whenever Batman is in shot. This helps disguise the limitations of the costume while adding an air of mystery to the character. Most shots of Batman are lit from the side, above or behind.

Very few shots of Batman are lit directly from the front. One noticeably well lit shot of Batman is the close-up of his face as he drags the mugger along the rooftop with the batarang cable.

Most of you have probably noticed that this shot is taken from the scene where he tries to prevent Napier from falling into the vat of chemicals.

The latter shot has a slightly greenish tint to disguise the recycling of footage, but the lighting and framing make it obvious.

In contrast to the low-key lighting surrounding Batman, the Joker is generally lit more brightly. Unlike Batman, the Joker doesn't need to hide in the shadows. He wants to be seen.

Smoke is also used to enhance the noir atmosphere. Almost every shot of the city streets at night features smoke oozing from the gutters. Smoke is also featured during the Axis Chemicals scenes and the Batcave and cathedral interior sequences.

In true eighties fashion, there's also some indoor haze to accentuate the lighting during the daytime interior scenes.

Smoke is deployed to especially strong effect during the Waynes murder flashback. Here smoke and shadows are used to create a distorted image of the two attackers, making them seem larger and more menacing than they might otherwise appear.

Burton also utilises low-angle camera perspectives to simulate the child's eye view and enhance the sense of vulnerability on Bruce's part.

Batman is almost always photographed from low angles to make him appear larger and more imposing. He is also generally shown entering and leaving shots along a vertical axis within the frame. During the scene with the muggers, Batman first enters the shot by descending through the top of the frame.

He surprises the muggers and leaps off the ledge. Once again, moving downwards.

When he exits the scene, he disappears through the bottom of the frame.

We next see Batman at Axis Chemicals, where he once again enters the scene by descending through the top of the frame.

At the end of this sequence, he rises back up through the top of the frame to make his exit.

Batman's next major appearance is at the museum, where he once again descends into the scene.

He and Vicki then rise up through the top of the frame.

They do so again in the alleyway.

Batman descends through the bottom of the frame when he falls back down into the alley.

And so on and so forth. The point of these examples is to illustrate that Batman is a vertically mobile entity. The limitations in wirework and pre-CG effects made it harder to depict his agility in 1989, so Burton communicated his mobility by the way he enters and leaves shots.

On the subject of the alley scene, there's an interesting visual continuity error regarding the chest emblem on Batman's armour. At one point Batman is shot at point blank range. Prior to this, his armour is undamaged.

Afterwards there is a bullet hole in the chest emblem.

However the bullet hole is also visible in the earlier shot of Batman attaching the grapple line to his utility belt, before he was shot.

There are lots more things to be said about the visuals in this movie, but I'll stop there for now and let others add their own observations.

Wayne49 · Mon, 2 Oct 2017, 09:39

I think Batman '89 is a great example of Burton's artistic flair at work. So many of his films look like story books come to life. And I think the reason for that is he sets ups his shots like he's going to photograph them. What is better referred to as Rembrandt lighting in still photography is how he captures specific characteristics while providing depth of field in shadow. I think that's also why he likes introducing fog or steam to his scenes because it enhances the foreground and provides greater depth through that separation.

Where I get a bit lost as to his intent with the matte shots is when the background gets out of sync with the foreground action. I noticed that in Batman Returns with Catwoman in one scene where the background is moving up and down while she remains still. I have no idea what the thinking was there. In Batman '89 when Batman and Vale fall from the cathedral, they're abrupt stop is out of sync with the moving background too. I'm not sure if that was just limitations of it's day or if he was purposely trying to be expressive by making it look disoriented. Usually Burton is pretty intentional with every visual. So I was wondering if anyone felt like those moments were intended or just a reflection of what was not possible at that time.

Silver Nemesis · Mon, 2 Oct 2017, 12:08

I wonder if those dodgy/misaligned matte shots reflect last minute changes to the script. It's no secret they were basically making up the ending of the 1989 film as they went along. As Burton himself once recalled:

Quote"Here were Jack Nicholson and Kim Basinger walking up this cathedral, and halfway up Jack turns around and says, 'Why am I walking up all these stairs? Where am I going?' I had to tell him that I didn't know."

http://cinetropolis.net/dance-with-the-devil-tim-burtons-batman/

Perhaps they weren't adequately prepped for the effect. Or maybe they were running out of time and money. But I think it's more likely the technological limitations of the day were to blame. It might have worked better if Burton had held on the shot of the ledge after they fall.

We just see them plummet out of shot. Then everything goes silent except for the sound of Vicki's scream receding into the distance. All the while we hold on the image of the ledge.

Then we hear the report of Batman's grapple gun being discharged. A second later, the grapple hook shoots up into frame and latches onto the ledge. Cue triumphant music. Dissolve to the shot of Batman and Vicki swinging slowly back and forth.

That would have been a more cost effective way of bypassing the problem. Though I have to say, this scene looks much cooler in the comic book adaptation.

The Laughing Fish · Mon, 2 Oct 2017, 12:25

Quote from: Wayne49 on Mon, 2 Oct 2017, 09:39
I think Batman '89 is a great example of Burton's artistic flair at work. So many of his films look like story books come to life.

True. We'll be lucky to see such an imaginative world in a Batman film again, although the Gotham TV show appears to be close to resembling such flair.

I remember when I first watched the opening cut scene in Batman: Arkham Asylum, I noticed this shot on 0:48 seconds looks similar to the Batmobile "Descent into Mystery" scene in B89.

(on 0:48 seconds)