Look, there is probably no easy way to say this, but Matt Reeves’ Batman universe is trying too hard. That isn’t to say, it hasn’t become a revered and well respected adaptation of the DC Comics mythos, but taking a hyper-realistic mandate isn’t the most openminded approach one can take with this genre. I’ll explain further.
The Batman (2022) was directed by Planet of The Apes director Matt Reeves to fairly positive reception. In fact, it remains one of the coolest detective dramas done with the character in years. The trouble is, the film holds onto the same kind of shame we all hope to avoid from 2000’s comic book films, where the creators wanted to “fix” the so-called camp of comic books by making it cooler, darker, and lately, more adult. Strictly speaking for myself, there isn’t anything inherently wrong with that. On the contrary, most fans love when creatives take the material seriously and find something relatable to focus on. However, with time, comic book films and television have finally found the footing and acceptance they once lacked with the popularity of the MCU, The Boys, Logan, Umbrella Academy, or Deadpool & Wolverine. Ultimately, this should mean that we no longer fear the “corniness” of comic book material, and open audiences up to more complex films than just origin stories or action comedies for all ages.
When it comes to The Batman’s first spin-off, HBO Penguin, Matt and series showrunner Craig Zobel seemingly present themselves as fans of the source material. Frankly, you don’t have to be a comic book reader to make comic book adaptations, but something I find to be key, is the sense of respect for it. For the most part, I find this also to be true. Penguin stars Colin Farrell as the title character as he scurries to scavenge for power in the detritus of The Batman‘s explosive third act. Unfortunately for him, the Falcone family have no intentions of letting the bottom feeders come for the throne, and after a lapse in judgement, Penguin finds himself no longer safe in Gotham as is. The show has a brilliant premise and inciting incident. Although, any good series based on a lie of circumstance will need more than that to steady the ship to it’s final destination. That is to say, I fully expect the show to surround itself around more than Oswald’s mercurial ability to worm his way out of trouble, and begin to transition him to thrive as the kingpin he is supposedly destined to become. Yet, like the film, the show is shackled to shame.
Maybe “Oswald Cobblepot” is too campy, too fantastic, or too corny of a name, but Zobel and the gang decide “Oz Cobb” fits their slimy gangster better. To be clear, there isn’t anything overtly wrong with that choice. In fact, it could help tie Oswald to other Batman characters down the line. The name change is still emblematic of what I fear is the most unappealing angle of this franchise and its creators. A sense of embarrassment. In the 2022 film, Batman finds himself trapped and attempting to escape the GCPD by any means. This includes deploying a custom wingsuit to glide off the rooftop to safety. On the surface, it seems like the kind of creative practical choices Matt is proud to think up and utilize. But, the truth is, Matt was afraid people would think Batman soaring off rooftops with a cape would look silly on film. As if this fundamentally basic aspect of his character was so jarringly unbelievable in the comics, animated series, or massively successful films. Including, but not limited to, the highly regarded Nolan trilogy. This philosophy carries over into The Penguin. Nerfing or softening the character to fit the vision is fine, but what matters is how small this “supervillain” and his counterpart will have to shrink to be acceptable.
Ironically, Oswald’s entire pathos in the series surrounds his ability to make himself small for others. To hide in plain sight, if you will. For example, my favorite monologue in the first episode spells it out in but so many words. Not to mention, it references the slightly unknown Rex Calabrese mob boss from Catwoman lore to drive the point home. On one hand, Oswald tells his guest, “There are all kinds of power” while protesting any claim or desire for it, finding it safer to disappear under the bigger fish like an eel or a remora. This is precisely what the show will and should explore. Truth be told, every character in the show feeds into the vacuum where his ego should be. His mother Francis serves as his “corazón fuera de su cuerpo” or reflect his heart outside of his body. Being able to talk to her as a physical being or character is important to see his emasculation vocalized. The impeccably talented Clancy Brown turns up as Sal Maroni, after being mentioned several times in The Batman. Maroni shows up as almost a character witness to the sins of his true self, knowingly seeing Penguin for the untrustworthy coward he’s always been. Moreover, the frighteningly competent heiress to the Falcone Crime Family, Sophia, played by Cristin Milioti, fills the “supervillain” shoes Farrell’s Penguin hasn’t measured up to yet. Her electric and sometimes stoic delivery is easily a highlight and delight in the show. Lastly, the neophyte street tough Vic, played by the sincere Rhenzy Felis, is probably the most important role in the show. In contrast to all of the other characters in the show, Oswald gets to create the man he wants to be in the mind of his unwilling mentee. Whereas everyone else can indict Oswald as a pathetic slime, Vic can glower at The Penguin he could be.
Alas, what kind of Penguin will he be? Todd Phillips approached his Gotham City with as much realism as Scorsese films like Taxi Driver or King of Comedy had. The grit and seriousness adds an edge to the film, the unadulterated brutality and violence adds a sense of peril, but the lack of wonder will always form a void in the hearts of those who watch it. Despite this, Joker should have been called “Arthur.” The name Joker comes with a decades long rap sheet of power, intent, and deviousness as sharp as stories about the devil itself. “Arthur” couldn’t take over a kindergarten, much less contend with the force of nature that Batman is traditionally written to be. My point is that, stories about Arthur are fine and dandy, but take a lot away from the character to fit their vision. Admittedly, this is the same thing they do with Robert Pattinson’s Bruce Wayne. Telling stories about Batman are exciting, but if you have to make him less than to find something worth writing, I question if you’ve ever read Batman at all. Hell, without wonder, viewers won’t ever see past the obvious influences like Sopranos or The Wire. What kind of man will Colin Farrell’s Oz Cobb become after undergoing the narrative transformation this show promises? Will he linger at the bottom like Arthur, or will he rise and be worthy of The Batman?
HBO THE PENGUIN will continue to air on HBO and MAX exclusively. New episodes will air on Sundays starting September 29th. Images and Video from Youtube.