Masha and the Bear (Season 1, Episode 17: Recipe for Disaster): Masha and kasha aren’t a good mix

Oleg Uzhinov, “Masha and the Bear (Season 1, Episode 17: Recipe for Disaster)” (2009)

Despite its title, this charming little short turned out to be the animated children’s series’ recipe for success, its Russian-language version gaining more than 3.4 billion views on Youtube and as a result becoming the most viewed non-music video on that platform. The story is simple and straightforward but contains a little lesson about how one should accept responsibility for one’s actions and the consequences that accrue from them.

Bear is trying to teach himself how to play checkers using a guidebook but gets stuck over a game in which he plays both sides and now White is out-pointing Black by 5 to 1 literally. Bear doesn’t quite get the hang of checkers being a strictly competitive game where the object is to win, and not a game where the competition is in striving to be the best you can be and everyone gets to win. His little human charge Masha doesn’t help by stealing the black piece and trying to play hockey with it. Bear pops her outside the cottage with a real hockey puck and forces Hare, caught stealing carrots from the garden (again!), to play goalie. After a while of hitting goals, Masha and Hare demand lunch so Bear puts Masha in charge of cooking kasha (buckwheat porridge) and goes off into the woods to concentrate on his checkers game. Masha ends up raiding all the cupboards for kasha and pouring it all into the pot, mixing water and milk into it; the resulting boiling mix threatens to over-pour everywhere so she dumps as much as she can into as many pots and pans as she can, and takes them all out to the forest animals to feed them all. Even the wolves resident in the abandoned ambulance van up on the hill get overfed on kasha.

Meanwhile, Bear finally reconciles himself to the fact that Black has lost the game so he packs up and returns to the cottage just in time for the inevitable explosion …

The CGI animation emphasises bright colours and sharp lighting contrasts which give a sunny mood to the cartoon. The action is quick and zippy which allows a lot of story to be packed into a 7-minute cartoon. All the animals featured in the story are mute which make Bear’s patiently stoic and forbearing attitude and the other animals’ surprise all the more funny. The story brings out Masha’s mischievous yet lovable character as she is forced to face up to the mess she creates.

One hopes that Bear has learned not to leave Masha by herself in the kitchen again, but given that this episode has been the most popular of the entire series, perhaps the creators can’t resist having Bear forget what happened when he left Masha at home alone … maybe that’ll be another lesson to be reinforced.

Feelings of Mountain and Water: shanshui animation meditates on nature, change and continuity

Te Wei, “Feelings of Mountain and Water” (1988)

Inspired by the traditional Chinese shanshui genre of landscape painting – “shanshui” means “mountain – water” – in which scenes or landscapes where mountains, rivers and waterfalls feature prominently are painted with brush and ink on a white background in a way that conforms to certain formal conventions and rules governing this genre, “Feeling from Mountain and Water” is a graceful and meditative animation short with an apparently simple story. A travelling elderly scholar is rowed across a lake by a boy from a fishing village but is too sick to continue his journey so the boy takes him to his own home and nurses him back to health. In gratitude, the scholar teaches the boy how to play his zither. The lessons continue for quite a while – a whole season seems to pass – until eventually the scholar has to resume his journey. The boy takes him in his boat and they sail along a river into very mountainous territory. The two bid each other sorrowful farewells and the scholar bequeaths the zither to the boy. As the scholar walks off into the distance, one gets the feeling that he crosses a boundary into another world, another dimension, and he and the boy will never see each other again.

The film contains no dialogue (so it can be seen by non-Chinese speakers) and the soundtrack consists of flowing, sometimes bubbling water, birdsong and the mellifluous tones of the zither as first the scholar and then the boy play it. The painted scenes range from delicate light-grey brush-strokes of swirling waves and tiny dots of birds as they fly into the far distance, to huge blocks of paint suggesting large boulders swiped across the paper, to watery stains of cloud or rock bleeding into the background. The humans are portrayed quite delicately and appear insubstantial against the solid, forbidding mountains and rushing rivers. Implied here is the notion that humans are a very minor element in the natural world where the solid impervious nature of mountains contrasts with and complements the liquid, changeable and adaptable nature of water (which over geological time can overcome mountains by eroding them).

Like the water featured so prominently, the film has a soft flowing quality in which everything that happens does so in a natural and organic way, as if the meeting between the old scholar and the young boy had always been preordained so that the knowledge and wisdom of the older character can be passed on to the younger, and the history, culture and values embodied in the zither, and the beauty with which all those values can be expressed, are maintained and passed onto future generations. In spite of the passing of the scholar, something of him continues with the boy.

Adam Ruins Everything (Season 2, Episode 4: Adam Ruins Dating): everything else except the institution of dating put under the spotlight

Tim Wilkime, “Adam Ruins Everything (Season 2, Episode 4: Adam Ruins Dating)” (2017)

If ever there were profitable scams preying on people’s insecurities in finding lasting and fulfilling relationships, the ones on offer in this episode of “Adam Ruins Everything” qualify as three of the more outrageous. Our hero Adam Conover turns up to a date with Sarah (Emily Althaus) who’s under the impression that he must be the perfect date for her – even if he strikes her as super-geeky – because the dating website she consulted and which matched her up with Adam used apparently scientific methods and algorithms to do so. As it turns out, dating websites like eHarmony and others are no better than allowing chance to determine whether two strangers matched together will stay together, for the reason that among other things the criteria used (personality characteristics or shared likes and dislikes) are poor, even irrelevant guides to a couple’s compatibility.

Having disabused Sarah of her misconceptions about dating websites, Adam proceeds to demolish the myth of the alpha male – based in part on research done by L David Mech on the social lives of wolves in the 1970s which the scientist later found he could not replicate two decades later and which (to his credit) he disavowed and tried to warn other researchers not to repeat – and the credibility of the Myer-Briggs psychological questionnaire, the related Keirsey Temperament Sorter and other personality tests based on fixed personality stereotypes. Wolves are now known to form family groups consisting of a male-female adult pair accompanied by two sets of offspring, one set older than the younger; the older offspring usually help teach the younger cubs to hunt. Only in very exceptional circumstances (if the animals’ environment has restrictions that don’t permit wolves to roam freely, or the prey species are experiencing a population boom) would wolves form large packs in which the animals observe¬† strict social hierarchy and bully others. The Myer-Briggs Type Indicator lacks scientific rigour and depends largely on self-reporting questionnaires; in the way it assigns up to 16 personality types to people, it resembles astrology.

The episode is very entertaining with just enough slapstick to hold young viewers’ attention. It can be buffoonish in parts but the breathless pace sweeps scenes out of sight before they become too silly. As in most episodes, Adam’s companion becomes despondent and Adam has to try to cheer her up without becoming too upset himself.

What the episode has no time for, given that it’s only about 25 minutes and has to deal with three more or less unrelated popular myths, is the issue of dating itself and the cultural assumptions and expectations that accompany it. How did dating arise in Western society as an institution and why does Western society regard the notion of two strangers meeting and being swept off their feet emotionally by one another as the best way for love and families to develop? What is implied about the nature of Western society that the institution of dating attracts dodgy schemes and practitioners like dating websites or match-makers of one sort or another to exploit people’s uncertainties and credulity for profit?

Tokyo Godfathers: a heart-warming if fussy Christmas movie on the importance of family in assuring survival and resilience

Satoshi Kon, “Tokyo Godfathers” (2003)

No, this ain’t no cult yakuza film – though yakuza types do appear for a short while – but instead this is a heart-warming Christmas anime flick about the importance of family, however unconventionally it’s constituted, in assuring survival and helping to bond people and maintaining hope in that bonding no matter what misfortune life throws at us. Three homeless people – middle-aged alcoholic Gin (Toru Emori), former drag queen performer Hana (Yoshiaki Umegaki) and young teenage runaway Miyuki (Aya Okamoto) are rummaging through garbage bins on Christmas Eve in Tokyo when they spot an abandoned newborn girl. They determine to return the baby, whom they call Kiyoko, to her parents after finding a photograph of her parents and crumpled papers with addresses attached to the little one’s blankets. This idea drives the trio through the streets, often late in the evening when the snow is falling heavily, and into the Tokyo metropolitan subway system. They will nearly come a-cropper at a wedding reception attended by gangsters, Gin will almost lose his life after being beaten by teenage thugs, Hana will briefly be reunited with the transvestites at the club where she used to sing and perform, and Miyuki will reconsider the argument with her father that led to her leaving home; whatever trials the threesome experience individually and collectively in trying to return the baby to her family will strengthen their bonds with one another and, paradoxically, lead them back to their own families. Gin is reunited with own his long-lost daughter and Miyuki unexpectedly meets her police inspector father again after two years while visiting Gin and Hana in hospital at the end of the film. Each of the three characters confronts his or her past demons and by doing so gains new purpose in life and has new respect for his or her travelling companions.

The background animation is beautifully rendered; the snowy cityscapes suggest isolation and alienation yet can be surprisingly calming and not at all threatening. Tokyo is at once a gritty, cold city in which the most surprising things can happen, most of all, a tiny baby who appears in a garbage bin on Christmas Eve and through whom three individuals learn to face their fears and gain redemption. While the city has its narrow lanes, noisty traffic and slums filled with immigrants and homeless who try to survive the best they can, Tokyo is also possessed of a quiet serenity.

The film can be viewed as a character study of three people who through their trials come to appreciate one another deeply and form a real family of people who look out for one another. Gin’s stoic, gruff nature hides a guilt-ridden conscience at having abandoned a wife and small baby girl. Hana deeply yearns to be a mum and to hold his own baby, though he’s somewhat at a loss when his turn to change Kiyoko’s nappy comes all too quickly. Miyuki is haunted by the argument with her father, during which she seized a knife and inflicted damage with it.

For the first half-hour, the film cruises along briskly but as coincidence starts to build upon coincidence, the plot becomes much less plausible than it already is. It becomes very strained and contrived, and plot twist upon plot twist strings out the film for longer than it should. A couple who have lost their own baby girl and whose lives as a result go askew become involved with the baby Kiyoko in a sinister way, yet the resolution of their troubles – depression, suicidal tendencies – is treated superficially. We never learn if the woman in the couple receives proper counselling and treatment.

For a film that pleads compassion for the marginalised in modern society and in which the main characters find real family with one another, and discover their resilience and compassion, the ending in which two characters are reunited with their original families seems unsatisfactory: it suggests that the only “real” families are the traditional nuclear families consisting of a father, mother and children, as dictated by a society that for one reason or another spurns its homeless and others who do not conform to its dictates.

Adam Ruins Everything (Season 2, Episode 1: Adam Ruins Pregnancy): why so much pressure on new parents and mothers in particular?

Matthew Pollock, “Adam Ruins Everything (Season 2, Episode 1: Adam Ruins Pregnancy)” (2017)

Appropriately for a first episode of a new season, the topic covered is having a baby and the popular myths and misconceptions that surround women’s fertility, the issue of whether to breast-feed or feed a child formula, and maternal bonding. Emily and her partner are worried that her biological clock is ticking away and before long, she’ll hit the 35th-birthday mark which means her ability to conceive will start vanishing. Enter our chatty host Adam Conover who reassures Emily and partner by advising that a woman’s ability to fall pregnant after the age of 35 years will actually only fall a few percentage points and that even women in their prime years of fertility (late teens to late 20s) only have a successful pregnancy rate of less than 90%. Conover explains that the notion that reaching 35 years of age means that a woman’s ability to fall pregnant will plummet drastically is based on French census data collected from 1670 to 1830!

In a hypothetical scene, when Emily attends a garden party with her newborn child, two women guests start arguing over the breast-feeding versus infant formula issue. Conover brings in an expert who chastises both brawling biddies for their blinkered points of view. Later in the episode, Emily and her partner feel rather depressed that they’re not bonding with their baby as much as they believe they should and that caring for a baby turns out to be tedious, often boring and not much fun at all. Again, Conover tells them that maternal bonding is a very recent and uniquely Western concept and that in the past, when infant mortality rates were high, people were actually advised not to become attached to babies.

The news that turning 35 won’t hinder conceiving a child will be a relief for many women. Pity though that Conover does not consider why this particular myth is still so widespread in television, print and other media. The agenda behind pushing the idea that having a baby after the age of 35 years is close to impossible may well be sinister: it may be insinuating that young women should set aside their career aspirations and devote their time and energies to having children now rather than later. Likewise, other issues covered in the episode tend to be those on which parents are often harshly judged by their families, friends and peers. Unfortunately the show’s format and short running time don’t permit Conover to explore why new parents are often subjected to so much subjective criticism from others (plus subtle criticism from popular women’s magazines, news media and parents’ blogs) on their child-rearing skills to the extent that their relationship with each other and with their child could be strained.

The episode does have its silly moments but on the whole it’s easy on the eye and the ear and has a lot of energy thanks to Conover’s enthusiasm and clowning antics.

Tales from Earthsea: a fantasy film lacking in sparkle and wonder

Goro Miyazaki, “Tales from Earthsea / Gedo senki” (2006)

Watching this film, gorgeous as it is visually, I couldn’t help but feel that it’s a classic example of “style over substance” – the original Earthsea book series is heavily squeezed and mashed into a hybrid that probably bears very little resemblance to the characters, plots and themes of the books. All the characters in this film seem cut from the same mould as so many other Studio Ghibli movie characters are: the heroes are children, one a feisty young girl on the cusp of puberty, the other a youth with a troubled past or a character flaw; the adults are either villains, of whom some are buffoons and the others genuinely malevolent but not without some degree of sympathy, or they are parental mentors playing second fiddle to the heroes. The plot usually pushes themes enjoining environmental balance and harmony, pointing out the suffering that occurs if the balance is disrupted; the dangers of using power irresponsibly; and young people discovering their purpose in life. Take away the Studio Ghibli visuals and you find a dreary film overburdened by its Studio Ghibli legacy.

The lands of Earthsea are afflicted by disasters brought about by an imbalance in the world: crops are failing, livestock are dying and people are suffering from a mysterious deadly disease. The wizard Sparrowhawk (voiced by Timothy Dalton in the English-language dubbing) determines to find the cause of this imbalance. In his travels he meets young Prince Arren, fleeing the kingdom of Enlad for having killed his royal father and haunted by a mysterious Shadow. Passing through Hort Town, the two separate briefly and Arren saves a young orphan girl, Therru, from slave-traders led by Hare (Cheech Marin). After various adventures, in which Arren is briefly enslaved, he and Sparrowhawk find refuge with a wise woman, Tenar (Mariska Hargitay), who has been raising Therru as her own daughter after finding her abandoned by her parents who mistreated the child.

Sparrowhawk determines (in a way that the film does not make very clear) that his sorcerer rival Cob (Willem Dafoe) is responsible for creating the imbalance in the universe that is ruining Earthsea through his dangerous quest to cheat death and achieve immortality. Cob knows through his raven spy that Sparrowhawk is looking for him so he makes his rival’s job that much easier and faster by kidnapping and imprisoning Tenar. He takes Arren hostage as well and casts a spell over him using his real name Lebannen. Through various plot twists the children Arren and Therru come to save Sparrowhawk and Tenar and to defeat Cob.

For the most part, the plot is slow with a huge middle section where very little happens and most of the action (and revelations) packed into the last half hour of the film. Cob’s motive for wanting to control Arren is not very clear – but then generally the motives of all the characters for doing what they do are very vague. The characters are typical Studio Ghibli stereotypes and lack individuality and substance. Only Therru is likely to make much of an impression on viewers with her surliness, bad temper and (later) her steadfast loyalty. The dragons that should be the film’s highlight appear seldom.

While backgrounds look good, the animation is uneven – some characters look badly drawn – and the music soundtrack is pver-loud kitsch Celtic folk to the extreme. The whole film lacks freshness, spark and a sense of fun. This film is definitely not one to watch unless viewers are diehard Studio Ghibli fans.

 

Formulaic coming-of-age heroic fantasy blends with Thai Buddhist beliefs in “The Legend of Muay Thai: 9 Satra”

Pongsa Kornsri, Gun Phansuwon, Nat Yoswatananont, “The Legend of Muay Thai: 9 Satra” (2018)

Not known for its animation industry, Thailand nevertheless seems to be pinning its hopes on this film, recently released in Australia and New Zealand, to garner some attention (and maybe lots of money!) for the industry’s further development. The plot is standard Hollywood formula: the principality of Ramthep is conquered by a demon race called the Yaksas and an old blind sage prophesies that a hero will save Ramthep and restore its rightful Prince, and destroy Yaksa leader Dehayaksa into the bargain. A general in the Ramthep army escapes the Yaksas carrying the kingdom’s most sacred weapon, the Ninth Satra, and a peasant baby called Ott. The general is gravely paralysed by the Yaksas while escaping but finds refuge on the remote island of Nok Ann. There, Ott grows up and is trained in the Thai martial art of muay thai as part of the general’s mission to return the Ninth Satra to its Prince so Ramthep may be restored. The Yaksas find and destroy Nok Ann village but not before Ott escapes with the Ninth Satra. With his adoptive father the general dead and all of Nok Ann village gone, Ott has to find his way to a homeland he barely knows. With luck, he is picked up by two friends, Red Asura, a yaksa who is friendly towards humans, and Va-ta, a monkey king, and later by a pirate ship captained by Chinese pirate queen Xiaolan. Together the foursome lead the pirate fleet to Ramthep on a journey fraught with several dangers including being harassed by Dehayaksa’s scout Black Jagger and having to navigate the pirate ship through a treacherously narrow passage.

The film rockets along at a good pace, neither too fast nor too slow, though the fight scenes are too quick and flashy to show off the style and movements of muay thai at its best.¬† Still, for a film that cost US$7 million to make, the computer animation is well done with characters that move smoothly and naturally, and background scenes, especially those that showcase Thai Buddhist architecture and the country’s islands, are gorgeous in their colour and detail. The aerial chase and fight scenes are spectacular to watch and are perhaps the major highlight of the film. (Of course there is the overblown Saturday morning children’s cartoon showdown between Ott and Dehayaksa and as may be expected it’s full of fire and fury and not a great deal else.) The animators pay considerable attention to character development, especially the characters of Ott, Red Asura and Xiaolan, with the result that viewers come to care a great deal about these particular figures as they battle their inner demons as well as the greater demon in Dehayaksa and his forces.

What really distinguishes this film though is the way in which the plot blends a formulaic coming-of-age fantasy epic with elements of Thai myth and Thai Buddhism. For Ott to be able to deploy the Ninth Satra weapon effectively, he must demonstrate the nine virtues associated with it, virtues such as courage, steadfastness, moral integrity and faith; he’s actually not tested on these virtues but viewers have to assume he’s in full possession of them all when he meets Dehayaksa. Ultimately the film’s message that a lowly village boy can become a saviour of his people by freeing them from enslavement by the demonic Yaksas, if he is of good moral character and trusts in his religious faith, will make an impression on its target audience of teenagers and primary school-age children and their families.

Movie fans will be able to spot obvious influences from Hollywood and Japanese anime films, and guess that the inclusion of a group of sky-riding pirates and a monkey prince is a sop to Chinese and Indian movie audiences. Still, the stitching together of the various influences and elements from other movies is done smoothly and the quality and energy of the animation are exuberant enough that viewers will readily overlook the derivative quality of the film’s plot, its characters and some visual pieces. While the film could have drawn on Thai culture and artistic media (traditional and modern) more than it does here, it’s still a very good-looking and energetic work.

5 Centimetres per Second: an insubstantial trilogy on the fleeting nature of youthful love, hope and desire

Makoto Shinkai, “5 Centimetres per Second” (2007)

As with his “Your Name”, Makoto Shinkai’s earlier “5 Centimetres per Second” is a teenage romance based around desire, hope and loss. The film takes the form of a trilogy of short story pieces revolving around young hero Tataki as he progresses through childhood and adolescence and becomes a young adult taking on the burdens and pressures of adulthood. The first and longest short story riffs on his childhood friendship with the girl Araki, how they meet in primary school and bond together, and their separation when, on the verge of transitioning to junior high school, she and her family relocate away from Tokyo to a more distant rural part of Japan. The second story focuses on another girl, Kanae, who is in Tataki’s class at high school and who has a crush on him which he fails to notice and she fails to admit to him. In the third and shortest installment, Tataki has already graduated from high school and college and with a job and a girlfriend seems well on the way to middle class career and family contentment. However the young man still pines for Araki so he chucks in his job and breaks up with his current love to travel to that part of Japan where Araki lives in the hope of meeting her and reigniting their relationship.

In themselves the characters are not all that remarkable and seem very one-dimensional in their melancholy and constant preoccupation with their thoughts; likewise the threadbare plot proceeds to a conclusion many viewers may find unsatisfactory if predictable. Kanae’s unrequited crush on Tataki – and his attitude towards the girl – may come across as rather callous on Shinkai’s part, and point to an insensitive and immature self-absorption on Tataki’s part that explains his inability to hold down a job and maintain a relationship with any female other than Araki. Perhaps it’s just as well that the original relationship between him and Araki peters out from the pressure of distance and time because if they were ever to meet again, he would find her literally another person.

The use of first-person voice-over story-telling is an original touch and coaxes the thin narrative forward steadily. The fragmented and not altogether reliable monologues have to be pieced together by viewers to form a clear narrative that holds all three stories together. The film proceeds rather as a series of beautifully detailed tableaux reflecting on the passage of time through the changes of day into night and day again, and of the seasons. The emphasis on trains and train travel serves as much to heighten the sense of separation through time and space between Tataki and Araki.

The background animation is gorgeous as it always is in Shinkai’s films but the characters and story fall far short of the beautiful and rich settings. Tataki and the girls he is involved with seem far too stereotyped as lovey-dovey young teenagers and the plot is equally generic. The film’s unusual title is a reference to the speed at which cherry blossoms, symbolic of the fleeting and fragile nature of youth, giving way all too soon to age and ultimately death, fall to the ground from the tree. It would be most ironic if this film becomes as minor in Shinkai’s body of work in the years to come as cherry blossoms are transient.

Your Name: teenage romance comedy drama comes with an unexpected twist sending it into disaster sci-fi fantasy

Makoto Shinkai, “Your Name” (2016)

At first this teenage romance drama seems to be just as sappy and sentimental as any other such film – especially if it’s a Japanese anime film – but it turns out to be quite a moving fantasy in which the two young protagonists try to save a community (and its traditions and culture) from sudden catastrophic extinction. How the girl Mitsuha and the boy Taki meet is ingenious: they meet each other in dreams in which they flip out of their own bodies and end up in the other person’s body. This creates a fair amount of havoc for them, their families and their friends, at least until the two become aware of each other and what is happening so they leave notes for each other on their mobile phones, in their diaries and around their bedrooms for whenever they change places again.

The two youngsters then help each other gain confidence in their social circles: Taki works up the courage to ask a co-worker at the restaurant where he works part-time out on a date, and Mitsuha becomes more popular at school. At the same time, Mitsuha participates in old family and community traditions in her village, as instructed by her grandmother, and is taught to leave sake offerings at the shrine of the village guardian deity near a lake. Later on in the film, Taki tries to meet Mitsuha and travels to her village, only to be told on the way there that the village was destroyed by a comet shower three years previously. To make matters worse, Taki later looks up fatality records for the village and discovers Mitsuha’s name is among them.

Thanks to highly detailed background animation, the film is never less than beautiful to watch though most human characters still look typically cartoonish in the way Japanese anime films portray them, with huge shining eyes and tiny button noses and small mouths and ears. Aspects of local village traditions are well researched and depicted. The film tends to be quite slow in its first half – this part of the film is mostly exposition, showing where the main characters live, what they do, how they spend their time, and what they yearn for (Mitsuha yearning to escape the village with its set routines and ways, Taki wondering about the world beyond Tokyo) – but the main characters thus established end up rather one-dimensional and bland. The pace picks up once Taki figures he can warn Mitsuha in the past of the comet strike and save her and her village. Much of the rest of the film then becomes Mitsuha’s quest, along with some of her school-friends, to convince, then force the villagers to evacuate by staging a power strike at the local electricity station that erupts into a wildfire.

The romance between Mitsuha and Taki tends to be shallow and sappy, with the characters obsessed with talking about their feelings, and by the end of the film the strength of this romance is still as vague and half-hearted as it was earlier when the characters became aware of the body-swapping. As though to compensate for the wishy-washy characters, the film brings in the plot twist that throws everything coming afterwards onto a different trajectory, and the romance takes distant second place to the disaster movie that unfolds.

The film’s saving grace is the various themes that it tackles with grace more or less successfully: loss, and how individuals deal with loss, whether it is personal loss, the loss of a relationship, or the loss of culture, history and tradition due to a catastrophe; yearning for connection, to be part of a world greater than one’s own immediate surrounds; and exploring identity through gender, social connections, time and space, and family and cultural background. If it were not for the themes informing the plot and the characters, the film would be no more than a typical teenage romance comedy drama with the unexpected plot twist that sends it off into disaster movie / sci-fi fantasy.

Batman vs. Two-Face: two icons of 1960s television series facing off in a film reconciling the Bright Knight and Dark Knight sides of Batman

Rick Morales, “Batman vs. Two-Face” (2017)

Adam West’s final outing as Batman before his death in June 2017 brings him face to face (or face to faces) with a criminal he never met on the 1960s television series: Harvey Dent aka Two-Face. Apparently the crooked district attorney who relies on tossing a coin to make his decisions had been set to appear on the old comedy series (with Clint Eastwood in the role) but studio executives deemed the character too dark and Two-Face was sidelined. Finally with William Shatner (yes, that William Shatner!) giving voice and his familiar look from the classic 1960s TV series “Star Trek” to the character, Two-Face takes his rightful place among other villainous favourites like Catwoman (Julie Newmar), the Joker, the Penguin, the Riddler, Mr Freeze, Bookworm, King Tut, the Clock King and Egghead, all of whom appear in this sequel to “Batman: Return of the Caped Crusaders”.

The sequel is not so much a homage to the original TV series and carries fewer of the jokes and other gags that burdened its predecessor, with one exception where Catwoman exchanges costume with lawyer Lucilee Diamond (voiced by Lee Meriwether, who played Catwoman in the 1966 Batman feature film when Newmar was unavailable for the role) in order to break out of jail. This episode in the Dynamic Duo’s adventures is tighter with a faster pace and not so many twists in the plot, although the Joker, Pengy and Riddles are now very minor characters.

Dr Hugo Strange (based on the Peter Sellers character Dr Strangelove in the famous Stanley Kubrick film) has invented a machine that will extract evil from Gotham City’s most criminal masterminds and invites the Dynamic Duo, District Attorney Harvey Dent, Commissioner Gordon and police chief O’Hara to a secret demonstration. While Dr Strange’s assistant Dr Harleen Quinzel operates the levers, Batman and Robin voice misgivings that the experiment extracting evil from the brains of the Joker, the Penguin, the Riddler, Egghead and Mr Freeze will not go as planned. Sure enough, the machine malfunctions and explodes, and Harvey Dent receives the full force of the noxious fumes enveloping him.

Several months later, after racking up a not-so-respectable resume in crime, Harvey Dent is captured by the caped crusaders and receives plastic surgery to restore him to his previous whole self. But the surgery literally proves to be only skin-deep and Dent’s Jekyll is soon overcome by his Two-Face’s Hyde. He uses King Tut and Bookworm to commit false-flag crimes to distract our masked heroes but they quickly deduce that the various characteristics of the crimes, all exhibiting doubled-up or dual natures, point to Two-Face as their mastermind. Batman and Robin disagree on Harvey Dent’s likely role in these crimes, with Batman willing to defend Dent’s good character, and the two briefly separate. The crime-fighters eventually reconcile but not before Robin is captured and given a whiff of the same noxious substance that Dent received months ago. The Dynamic Duo follow Dent / Two-Face to a casino where he manages to outwit them.

Duality and double identities are the major theme of this episode, and fittingly Dent / Two-Face deduces Batman and Robin’s real identities while he has them strapped to a giant silver dollar which, if they move, will roll down to a giant bed of nails that will impale them. Since Batman has already been a bad Batman in “… Return of the Caped Crusaders”, Robin gets a turn in playing a bad Robin, and even his alter ego Dick Grayson is jealous of Bruce Wayne’s friendship with Harvey Dent. Catwoman also finds herself playing both villain and Batman’s ally. The plot ends up in a pedestrian battle of good versus evil as Dent / Two-Face literally struggles with himself amid explosions in an oil refinery.

The animation is adequate for the plot though at least Dent / Two-Face does look like Shatner and the main characters also resemble the actors playing them to some extent. One wishes again that Gotham City could have looked less generic and more like a city of light (where everyone and everything wears a prim and proper face, save perhaps public institutions like the Sisters of Perpetual Irony Hospital) during the day and a city of darkness in the night when masked avengers sally forth to fight and vanquish evil, in keeping with the theme of duality. The actors voicing the various characters do excellent work in making the cheesy dialogue work and seem plausible although West’s voice is quite frail. Viewers do not need to be as familiar with jokes, gags and other references to the original television series and the various Batman / Dark Knight films.

This sequel is an improvement on “… Return of the Caped Crusaders” which also brings the television series closer to the official DC Comics Batman universe with the introduction of characters like Harvey Dent / Two-Face and Harleen Quinzel aka Harley Quinn in a very minor role. It is a fitting way for West to bow out and end his acting career.