RE-POST: What 007 and Batman have in common

Adapted from a 2012 post

When following debates among James Bond fans — whether on Internet bulletin boards, Facebook or in person — people sometimes say “try reading Fleming” (or a variation thereof) as if it were a trump card that shows they’re right and the other person is wrong.

Read Fleming. That shows Bond is supposed to be a “blunt instrument.” Therefore, Casino Royale and Quantum of Solace are really true to Fleming.

“Read Fleming!” = “I’m right, you’re wrong!”

Read Fleming. That shows Bond is a romantic hero, not a neurotic antihero, therefore, (INSERT BOND ACTOR HERE) was true to Fleming. Meanwhile, (INSERT BOND ACTOR HERE) meant the 007 film series had reached a nadir.

In reality, over a half-century, the Bond films have passed through multiple eras. To some, Connery can never be surpassed and Moore was a joke. Except, the Connery films have more humor than Fleming employed (on the “banned” Criterion laser disc commentaries, Terence Young chortles about how Fleming asking why the films had more humor than his novels). The Moore films, for all their humor, do have serious moments (Bond admitting to Anya he killed her KGB lover in The Spy Who Loved Me or Bond being hurt but not wanting to admit it after getting out of the centrifuge in Moonraker). Other comments heard frequently: Brosnan tried to split the difference between Connery and Moore, Craig plays the role seriously, the way it should be, etc., etc.

Lots of different opinions, all concerning the same character, dealing with different eras and the contributions of multiple directors and screenwriters. Which reminded of us another character, who’s been around even longer than the film 007: Batman, who made his debut in Detective Comics No. 27 in 1939.

Early Batman stories: definitely dark. “There is a sickening snap as the cossack’s neck breaks under the mighty pressure of the Batman’s foot,” reads a caption in Detective Comics No. 30.

Then, things lightened up after Batman picked up Robin as a sidekick. Eventually, there was Science Fiction Batman in the 1950s (during a period when superhero comics almost disappeared), followed by “New Look” Batman in 1964 (which could also be called Return of the Detective), followed by Campy Batman in 1966 (because of popularity of the Batman television show), followed by Classic Batman is Back, circa 1969 or ’70, etc., etc. All different interpretations of the same character.

In the 1990s, there was a Batman cartoon that captured all this. A group of kids are talking. Two claim to have seen Batman. The first provides a description and we see a sequence resembling Dick Sprang-drawn comics of the 1940s, with Gary Owens providing the voice of Batman. The second describes something much different, and the sequence is drawn to resemble Frank Miller’s The Dark Knight Returns comic of the 1980s, with Michael Ironside voicing Batman.

Eventually, the group of kids gets into trouble and we see the 1990s cartoon Batman, voiced by Kevin Conroy, in a sequence that evokes elements of both visions.

With the Bond film series, something similar has occurred. In various media, you’ll see fans on different sides of an argument claiming Fleming as supporting their view. Search hard enough, and you can find bits of Fleming or Fleming-inspired elements in almost any Bond film. The thing is, the different eras aren’t the result of long-term planning. They’re based on choices, the best guess among filmmakers of what is popular at a given time, what makes a good Bond story, etc.

In effect, both the film 007 and the comic book Batman have had to adapt or die. Fans today can’t imagine a world without either character. But each has had crisis moments. For Bond, the Broccoli-Saltzman separation of the mid-1970s and the 1989-95 hiatus in Bond films raised major questions about 007’s future. Batman, meanwhile, faced the prospect of cancellation by DC Comics (one reason for the 1964 revamp that ended the science fiction era) but managed to avoid it.

None of this, of course, will stop the arguments. Truth be told, things might become dull if the debates ceased. Still things might go over better if participants looked at them as an opportunity. An opposing viewpoint that’s well argued keeps you sharp and might cause you to consider ideas you overlooked.

Kevin Conroy, voice of Batman in cartoons, dies

Logo for Batman: The Animated Series

Kevin Conroy, who became the voice of Bruce Wayne and Batman starting in 1992 with Batman: The Animated Series, died this week at 66, according to multiple media reports.

Here is an excerpt from the website of CBS:

The actor voiced the caped crusader in “Batman: The Animated Series,” which aired 85 episodes from 1992 to 1996 and in several DC animated movies and video games. In total, he brought the character to life in more than 60 projects. 

In 2019, he performed a live-action version of the role for the first time, appearing on the CW’s television event “Crisis on Infinite Earths” as a future version of Bruce Wayne.

CBS added this detail:

Conroy was the first and only openly gay actor to play Batman. In June 2022, Conroy wrote a comic called “Finding Batman” for DC Pride, where he reflected on his experience voicing the character while coming to terms with his sexuality. In a Twitter video shared shortly after the comic was published, Conroy thanked fans for their “overwhelming” support. 

Batman: The Animated Series ranks as one of the best — if not the best — adaptations of Batman. Conroy’s voice work was one of the reasons.

The show also adapted certain Batman comic stories, providing the writers of those stories credit. Batman: The Animated Series featured high production values and attracted actors such as Edward Asner, Efrem Zimbalist Jr. (as Alfred), Mark Hamill (as The Joker), John Vernon, Paul Williams (as the Penguin), and others. Adam West, star of the 1966-68 live-action Batman television show, also was a voice actor on Batman: The Animated Series.

Paul Dini, part of the production team, put out this tweet:

pic.twitter.com/yq6EbYp47G

— Paul_Dini (@Paul_Dini) November 11, 2022

Haggis found liable in civil rape case, NYT says

Quantum of Solace’s soundtrack. The movie was co-scripted by Paul Haggis.

Paul Haggis, who co-scripted two James Bond films in the 2000s, has been found in a civil trial “liable for raping a former film industry publicist in his Manhattan apartment in 2013,” The New York Times reported on Nov. 10.

Haggis was ordered by a jury to pay the former publicist, Haleigh Breest, at least $7.5 million, the Times reported.

Haggis, 69, worked on 2006’s Casino Royale and 2008’s Quantum of Solace as a writer. The filmmaker also “wrote ‘Million Dollar Baby’ and co-wrote and directed ‘Crash,’ consecutive best picture winners,” the Times noted.

The newspaper said Haggis met Breest “while she worked at film premiere events in New York. In a lawsuit filed in the early months of the #MeToo movement, she alleged that after one such event, Mr. Haggis invited her to his loft in SoHo, where he forced her to give him oral sex, penetrated her digitally and proceeded to rape her.”

An excerpt from the story:

Mr. Haggis’s lead lawyer, Priya Chaudhry, said in a statement that the defense was “disappointed and shocked” by the verdict, accusing the plaintiff’s lawyers of portraying Mr. Haggis “as a monster” and lamenting the judge’s decision to allow testimony from four other women who have accused Mr. Haggis of sexual misconduct.

The $7.5 million figure is for compensatory damages. The jury is to return next week to consider punitive damages, the Times said.