The Batman film series has featured remarkable tracks in its soundtracks over the years. Songs like Seal\u2019s \u2018Kiss From A Rose\u2019 from Batman Forever and U2\u2019s contribution in the same film have left a mark. The Smashing Pumpkins\u2019s tune for Batman and Robin and Prince\u2019s iconic soundtrack in Batman 1989 are also unforgettable.<\/p>\n
Yet, among these notable contributions, no band seems more fitting for the vision of Gotham City than Siouxsie and the Banshees in Tim Burton\u2019s decadently dark sequel, Batman Returns. Known for their influence on goth culture and post-punk from the late \u201970s to the \u201990s, Siouxsie and the Banshees collaborated with composer Danny Elfman on the tie-in single \u2018Face to Face\u2019. This sensual and symphonic track perfectly complements the film\u2019s charged sexual tension.<\/p>\n
Siouxsie\u2019s presence merely adds to the movie\u2019s eerie opulence. In this narrative, the Penguin emerges from the sewers to seize control of Gotham, while Catwoman prowls the city, urging Bruce Wayne to engage in political matters beyond his vigilante persona. It\u2019s a Christmas-themed film that embodies majesty and melancholy, a narrative that\u2019s downbeat yet subtly decadent, wholly and proudly gothic.<\/p>\n
The storyline resembles a Shakespearean tragedy infused with Cirque Du Soleil\u2019s performance. Oswald Cobblepot, akin to Bruce Wayne, was born to affluent parents, only to be abandoned due to his physical differences. Forced to live underground, he assembles a crew of former circus performers and penguins, aiming to re-enter Gotham\u2019s elite society under the guise of the Penguin.<\/p>\n
During a campaign speech by Max Schreck, a corrupt businessman eyeing the mayor\u2019s seat, chaos ensues as the Red Triangle, a band of misfit circus artists, wreaks havoc. Batman intervenes but struggles to contain the upheaval fully. Tim Burton transforms Gotham\u2019s Union Square into a big top tent, turning its unsuspecting citizens into participants in a twisted sideshow. The lawless gang, under a ringmaster\u2019s leadership, takes over the dark metropolis.<\/p>\n
The scene unfolds grandly and untamed, with a rhythmic flow akin to dancers moving to an unheard melody. Batman plays his role, the batmobile adding to the spectacle. He rescues Selina Kyle, whose day takes a dark turn as she transforms into Catwoman upon returning home.<\/p>\n
Surprisingly, despite being an action film about the caped crusader, Batman isn\u2019t the primary focus. Instead, the narrative delves into extensions and inversions of his personas: Penguin symbolizes the craving for attention and control, Catwoman embodies vengeance, and Max Schreck personifies corporate egotism.<\/p>\n
Bruce Wayne serves as the stable force amid the chaos. He\u2019s the anchor in Burton\u2019s audacious exploration of Batman\u2019s world, seen as an ever-shifting performance art. Gotham is overseen by a philanthropic playboy who dons a bat suit, combating crime as a form of therapy, perpetuating an absurd alter ego.<\/p>\n
This platform naturally invites challenge. The Penguin initially aims for theatrical absurdity, but Max persuades him to take a more serious approach by entering the mayoral race. Catwoman joins forces, seeking vengeance against Batman, yet Selina Kyle ends up entangled with Bruce, both literally and figuratively.<\/p>\n
Selina, Oswald, and Bruce aren\u2019t vastly different from each other. They each balance their desires and impulses, attempting to fulfill their base desires without ending up alone. A romance simmers through Batman Returns, but it\u2019s one destined to fail due to the intrinsic nature of these characters. Bruce and Selina attempt a relationship, but their masked alter egos clash irreconcilably.<\/p>\n
Burton treats their costumes as second skins. Oswald and Catwoman comfortably conspire in drab suits and tight leather, outfits reflecting their true selves. Oswald\u2019s downfall comes when Bruce exposes his plans, leading to Penguin\u2019s attempt at a biblical plague of killing Gotham\u2019s firstborn sons, followed by a wave of penguin bombers.<\/p>\n
In the end, no one achieves their desires. Everyone is left lonely and unfulfilled. Bruce, in the closing scene, displays his true armor alongside Alfred, quietly wishing his lifelong confidant a merry Christmas. Batman Returns resonates with a holiday apathy felt by those enduring rather than enjoying the festivities.<\/p>\n
The film offers a magnificent yet fleeting dance. For a moment, a penguin reigns over Gotham, and a cat wreaks havoc, surrounded by an uncouth crowd in bright singlets. As Siouxsie sings, \u201cFace to face, The passions breathe, I hate to stay, but then I hate to leave\u201d.<\/p>\n
Briefly, these heightened heroes and villains collide in the shadows, but before long, reality returns with its cold grey hues. The night never lasts long enough. Batman Returns invites us to dance in the moonlight while we have the chance, amidst mistletoes, stray cats, and the occasional penguin.<\/p>\n","protected":false},"excerpt":{"rendered":"
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