Adam West’s campy Batman was a joy. Modern superheroes – why so serious? | Jack Bernhardt
We all know that the character of Batman is the 21st-century version of Hamlet. It’s a given. Every great Hollywood actor must at some point attempt to put their own spin on the enigmatic crime-fighter. If Laurence Olivier were alive today he would have dressed in the cowl, given a hammy monologue about the duality of man, all while beating up Killer Croc (played by John Gielgud).
With each rendition, Batman’s humanity gains another dimension: Christian Bale demonstrates Man’s tortured soul, Michael Keaton reflects Man’s extravagant showiness, and George Clooney represents Man’s desire to get a lucrative sideline selling Nespresso.
In this cavalcade of Batmaniacal acting talent, one is always dismissed out of, the original screen Batman, who died last week, is remembered not as the grandfather of all Batmen, but rather as a doddery, camp uncle. With his over-the-top punches and ridiculous plotlines – a surprising number of which involve , West is seen by some as the man who undermined Batman’s credibility, who defiled this great character for years before it was finally claimed from the clutches of kitsch by and . To those people, I say “FLRBBBBB!” (the sound of West punching someone). I put it to you that not only is West’s Batman the most fun, it is also the most subversive and truthful Batman we can hope to ever witness.
