Review: Batman '66 #8

This issue features King Tut, perhaps the most successful of the made-for-TV villains, no doubt due to Victor Buono's over-the-top, and highly comedic performance.  Written by Jeff Parker, the story starts off very strong.  Tut apparently has legitimately acquired a fortune, and plans to take over Gotham by simply buying it.  Batman and Robin shadow Tut, and that's where things go a little south.  Tut has found a time barrier which allows him to go back in time to ancient Egypt, where he obtains gold by selling the Pharaoh some modern chocolate bars.  Batman and Robin, who have followed Tut into the past, observe this, as well as one of Tut's men drinking an ancient serum that will give him super powers. The Dynamic Duo race back through the time barrier, to head Tut and his gang off when they return to the present.  They capture Tut and his gang, but the one who drank the serum, Waylon, gets away and presumably will become the 1966 universe version of Croc.  I wasn't too keen on the whole time travel scenario, but since Parker did it, I find it more disappointing that he didn't work in a cameo of the Wizard Shazam, since Captain Marvel does exist in the 1966 universe, at least if you go by the Legends of the Superheroes TV specials (if you use those specials as a common denominator, it could be argued the live-action Filmation Shazam! TV series is part of the 1966 continuity... note to DC: think about a Batman-Captain Marvel crossover!).  I also noticed a continuity gaffe if this series takes place right after season 3.  In the second to last Tut episode, Tut had figured out Batman is Bruce Wayne, and in the final Tut episode, he confirmed it by accidentally tunneling into the Batcave. At the end of the episode, rocks fell on his head, reverting him back to Professor McElroy, and losing memory of Batman's secret identity.  But in this issue, Tut says he faked reverting back to McElroy, which means he should still know Batman is Bruce Wayne. The artwork is by Ruban Procopio, and is good, even if it has that same Mad Magazine quality that has persisted throughout most of this series.  He captures Victor Buono's likeness and mannerisms perfectly, while Parker seems to have toned down the character slightly from the TV show.

The second story features Shame, by the same creative team, but Procopio's art is in a totally different style, in what looks like painted watercolors.  The story is good, even if Parker tries a little too hard to rationalize Shame's Western motif.  It's fun to see Batman and Robin in cowboy hats, and on horses.  It's also nice to see Robin being the one to rescue Batman.

Overall this issue earns a B.

BATMAN DVD News and Review: Batman '66 #7

Before I get to the review of issue 7, the blockbuster announcement that has been eminent for a year has been made. The 1966 Batman TV series will be released in a DVD box set later this year, just in time for Christmas.  Early reports are that HD transfers made from pristine 35mm prints are being done, and Adam West and Burt Ward will be heading into a recording studio to do audio commentaries.  Hopefully, other bonus features, like Adam West appearing in full costume on shows like Hollywood Palace, will be included.


On to the review.  Jeff Parker returns as writer, and he brings False Face with him.  The story is very good and clever, where False Face impersonates Bruce Wayne, framing him.  Parker brings back Blaze and two of FF's original henchmen from the episode, a first, I think, for this comic book. The story also introduces the Bat Jet, looking just like it would had it been used on the TV show.  My one critique is that FF impersonates the president... Lyndon B. Johnson. Part of the longevity of the original series is that it was timeless.  They rarely mentioned the year, or anything too topical, at least in the first two seasons.  Season three, with all its other shortcomings, is also guilty of being too topical, with references to hippies, mods, surfers, and all other fads of the day.  The LBJ appearance is the second, at the least, reference establishing this comic book being set in the 1960s.  I would prefer it if they avoided that pitfall of season three, and followed the example of the first two seasons by keeping it timeless.  The art by Christopher Jones is excellent, although in a couple panels, as most artists on the series have done, he gives Batman a large gut.  Something else I wish would be dropped from this series.

The second story features the Joker and is written by Tom Peyer with art by Derec Donovan.  Peyer captures the Joker much better than Parker did in issue 3.  This time, I can actually picture Cesar Romero, instead of a generic insane DC Joker.  This may be the best of the short second stories.  Perhaps Peyer should write all of them, and let Parker handle the longer lead stories.  Donovan's art, however, is average, and his Batman looks more like Jack Webb than Adam West.  I wish Donovan drew the lackluster issue 3, while Joe Quinones' superb artwork graced this issue's Joker story. Overall, this is a great issue, and it earns an A-.

Finally, this week also saw the release of the trade paperback, BATMAN: THE TV STORIES, collecting about half of the original comic book stories that were adapted into TV episodes.  This book is a must have, and there has to be a volume 2 planned to collect the remaining stories.  May I also add the cover, by Amanda Conner, is spectacular, and I would love to see her draw an issue or five of BATMAN '66.

For the record, here are the stories that should be included in Volume 2:
"The Menace of False Face" (BATMAN #113 - adapted as "True or False Face/Holy Rat Race")
"The Mental Giant of Gotham City" (DETECTIVE #217 - adapted as "An Egg Grows in Gotham/The Yegg Foes of Gotham")
"The New Crimes of the Mad Hatter" (DETECTIVE #230 - aspects of this story were used in both Mad Hatter episodes)
"The Penguin's Nest" (BATMAN #36 - adapted as "The Penguin's Nest/The Bird's Last Jest")
"Batman's Deadly Birthday" (BATMAN #130 - aspects of this story were used in "Batman's Anniversary/A Riddling Controversy")
and to round out the edition, they can also include
"The Eraser Who Tried To Rub Out Batman" (BATMAN #188, the only comic book story to copy the TV series)
"Mr Freeze's Chilling Deathtrap" (DETECTIVE #373, the first story to use the TV show's Mr Freeze in lieu of the comics' Mr Zero, and to use the TV show's surname Cooper for Aunt Harriet
"Catwoman Sets Her Claws For Batman"(BATMAN #197, the first appearance of Catwoman in the Julie Newmar costume).

The best Elvis songs you've never heard.

As we celebrate Elvis' birthday, I thought I'd take this opportunity to put a spotlight on Elvis' best overlooked and under appreciated recordings, similar to my previous Monkees post. 

 

Many of the songs on this list will be from Elvis' movies, often dismissed, yet the source for some real gems.

 

 

 

 

Baby Let's Play House is one of Elvis' earliest tracks from the Sun Records era, and if ever there was a very definition of "Rock and Roll", it would be this song.

 

My Baby's Gone is a slow blues tune recorded at Sun that Sam Phillips felt was a little too bluesy, so it was never released. It was remade as an up tempo Rockabilly number under the alternate title I'm Left, You're Right, She's Gone.  But it's the original blues version that's the winner.

 

Mean Woman Blues is a highlight from the movie Loving You and became a Rock and Roll standard covered by many other artists, but it's Elvis' original that set the standard.

  

Tell Me Why is a blues ballad that showcases Elvis' vocal range in his early years.

 

A Fool Such As I  is a great example of how Elvis could take a slow, Country song (originally recorded by Hank Snow) and turn it into a breezy, swinging rocker.

 

Fame And Fortune is a great do-wop ballad with Elvis in great form.  It was the b-side of his first single after getting out of the army, and first true stereo release.

 

Like A Baby is one of Elvis' best tracks off one of his best albums, Elvis Is Back! (1960). A blues number that fits Elvis' pleading vocal performance perfectly and is proof that he was one of the best blues singer of all time.

 

Summer Kisses Winter Tears is a nice Western ballad that was cut from the movie Flaming Star but went on to be released as a single.

 

That's Someone You Never Forget is a hauntingly beautiful ballad.  It is one of a very few songs Elvis co-wrote when he tried songwriting in the early 1960s with his Memphis Mafioso Red West (tracks from the 1950s that gave Elvis songwriting credit were due to his song arrangements and occasional lyric revisions, the main exception being the four Love Me Tender soundtrack songs, which were essentially a form of "payola"). It's too bad Elvis didn't have the interest to continue with songwriting, as this track proves, in time, he could have been a major songwriting talent.

 

She's Not You is the result of Jerry Leiber and Mike Stoller teaming up with Doc Pomus, to form a songwriting supergroup.  While not the hard rocking track one would expect from such a collaboration, it is never-the-less, a nice mid-tempo pop tune.

 

What A Wonderful Life is a swinging, bouncy number from the movie Follow That Dream and in a way, perfectly captures the essence of the "Elvis Presley movie franchise".

 

King of The Whole Wide World is a bouncy rocker from Kid Galahad.

 

A Mess of Blues is just what the title says, and has since become something of a blues standard.

 

Long Lonely Highway is song that urges one to go on even though things aren't very good. Very good track that was later incorporated (with horn overdubs) into the movie Tickle Me. 

 

Kiss Me Quick is a cute and fun pop track that shows how musically versatile Elvis could be.

 

C'mon Everybody is a fantastic rocker from the movie "Viva Las Vegas", not to be confused with the Eddie Cochran song with the same title. The official released version was mono, but seeking out the alternate stereo mix is worth the effort, as it really rocks.

 

The Meanest Girl In Town is a rocker from the movie Girl Happy that was so good, Bill Haley and His Comets recorded it days after Elvis under the alternate title Yeah She's Evil, and rushed its release before Elvis' version with the hopes of reviving the Comets' career.

 



Spinout is a bluesy, up tempo soul number, kind of a counterpoint to the soul classic Expressway To Your Heart. With its driving bass line, and some killer Hammond organ riffs this is an overlooked gem that would fit in perfectly at dream cruises and classic car shows.  Elvis must have liked the song, too, since when he performs it in the movie of the same name, he breaks into some of his old 1950s dance moves, something he only did in the 1960s when he was really having fun.

Hard Luck from the movie Frankie & Johnny is a great blues tune with some wailing harmonica playing by Charlie McCoy.

Hey Little Girl is a fun and cute rocker from Harum Scarum that really should have been a major hit.

Long Legged Girl (With The Short Dress On) is a short but fun rocker from the movie Double Trouble. With the Jordanaires' old-school doo-wop backing vocals, and Elvis singing great lyrics like "walk in stilts in ten foot leaps" looking for the elusive title character, it is impossible not to like this song.

Too Much Monkey Business is a cover of the Chuck Berry classic Elvis recorded with Jerry Reed providing the guitar work.  Recorded at the same session that included Guitar Man, Big Boss Man, Hi-Heel Sneakers, U.S. Male (arguably an early precursor of rap), and Stay Away Joe, each of these songs are gems and reignited Elvis' creativity after years of soundtrack albums, and was the first step of his "Comeback".  An interesting footnote:  in the 1960s, Elvis was always lambasted by critics for being "out of touch" with the world around him, living in his own protected bubble.  Yet, in this song, Elvis alters Berry's original lyric to include a reference to the Vietnam war.  Maybe Elvis wasn't as out of touch as everyone was led to believe.

Let Yourself Go from the movie Speedway is such a great song that Elvis remade it for his 1968 Comeback special.

All I Needed Was The Rain is a down on your luck blues tune from Stay Away Joe with some great harmonica and resonator guitar.

Wearin' That Loved On Look is a Soul-Rhythm & Blues track from another of Elvis' best albums, From Elvis In Memphis (1969). The entire album is excellent and is, unfortunately, the only all-out Soul/R&B album Elvis ever made.  This song was the first track, and set the pace for the album.

If You Talk In Your Sleep is a funky 1970s track, co-written by Red West, with a "Blues Brothers" style horn arrangement. For most of the 1970s, Elvis' recordings tended to be on the Country-rock side.  So, in the final couple years of his life, when he began to record funky, bluesier numbers like this and Way Down, and treaded into 1950s nostalgia tracks like Pledging My Love and Hurt, it kind of gives you an idea of where Elvis would have gone musically had he lived into the 1980s.

Any one of these songs, if reissued today, would be a number one hit, much like A Little Less Conversation, another lesser known movie soundtrack song, was when it was remixed and reissued in 2002.  I may have to do a "Part 2" to this article sometime.

Captain Marvel/Shazam movie officially dead implies Peter Segal

It has been a long time since we heard anything about the Captain Marvel/Shazam movie.  Now it appears director Peter Segal has implied the film is officially dead, in an interview with ComingSoon.net.

CS: Speaking of superheroes, you were developing a DC Comics property a few years and a film was being planned called "Billy Batson and the Legend of Shazam." Whatever happened to that?
Segal: The thing is, Shazam has always lived this tortured life going against Superman. This dates back to the 1930s. Because Captain Marvel had similar powers to Superman, the DC folks back then sued what was the most popular comic book on the stands at that time. Years later, they bought it and it became a DC property but, as long as Superman stays hot in the market place, there seems like a little bit of a crossover between the two characters. After Bryan Singer's "Superman Returns," it seemed like there was a moment in time where Shazam was going to see the light of day. That's when you heard those stories. Now that Superman is being invigorated and going up against Batman, I think it's difficult for DC to figure out how to launch this character in the wake of Superman's resurgence.

CS: It sounded like your approach was a bit more kid-friendly.
Segal: Well, it wasn't. I was working with Geoff Johns. At its core, it's a lot like Superman. There's this boy trapped inside of a superhero's body. He's still a boy inside, so there's this opportunity to play a lot of humor with the action. Originally, Stan Lee brought me "Fantastic Four" a number of years for that very reason. I always have the question when people bring me superhero properties, "Why me?" With Stan, he said, "It's because there's a sense of humor within all Marvel characters." These characters are flawed and, within those flaws, there is humor. When Toby Emmerich came to me with Shazam, it was because of those same reasons. To draw from that humor and to mix it with great action and pathos. I've always loved Shazam, but I don't know if it's going to see the light of day anytime soon.

This puts to rest a project that had been in development for over a decade. It seems the project's best chance at getting made was in 2003 through 2005, when attempts at reviving the Superman franchise were being shot down left and right, and it looked like DC may have lost the rights to the character in a lawsuit with the estates of Superman creators Jerry Siegel and Joe Shuster.  But once all that got settled, and Superman Returns began filming, it seemed all was lost for the Big Red Cheese, even though the project continued to limp along for several more years, and Captain Marvel was getting more mainstream attention through animated projects like Batman: The Brave & The Bold, Superman/Shazam: The Return of Black Adam, and Young Justice.  Personally, I think the project will eventually get made, but not as a live action movie, but a Pixar style CGI animated film.

Review: Batman '66 #6

This issue changes thing up, with a new writer, Tom Peyer.  His script, featuring the Bookworm, is above average with some clever moments, such as the opening sequence where Robin is giving a lecture on literacy at the Gotham Chamber of Currency, chaired by millionaire Bruce Wayne.  The overall plot has to do with Bookworm compiling an Encyclopedia of Batman, in an attempt to deduce his secret identity. While Peyer's script is no masterpiece, the artwork by Ty Templeton certainly is.  He is clearly the best artist to work on this series.  His drawings perfectly capture the TV show likenesses while still embracing typical comic book grandness.  Only two critiques: his action panels are not quite as well laid out or as epic as Jonathan Case's, and he tends to give Batman a pronounced pot belly in some panels.

Jeff Parker is back writing the issue's second story, with art by Ted Naifeh.  As usual with most of these short second stories, its kind of a mess, reminiscent of bad third season episodes.  This one features Olga Queen of the Cossacks, in a lame plot to try to marry Batman, kind of a rehash of the TV show's Marsha Queen of Diamonds episode.  The art is OK but a little sloppy.  There is a non sequitur with Barbara Gordon hinting at a continuing storyline.  Overall the second story is weak.  Clearly, excellent short comic book stories can be done, as that was the norm of comics pre-1970, but today's creative talent can't seem to grasp it.  I'd rather see DC end the short second story, and have well done book length stories instead.  This issue earns a B, mostly due to Ty Templeton's excellent artwork.

Review: Batman '66 # 5

Issue 5 brings back second season one-shot villain Dr Somnambula aka The Sandman. The story, by Jeff Parker, is not bad, but not a stand out, either. The art by Ruben Procopio often veers into Mad Magazine territory, as this series occasionally does. Any old timers out there remember the Batman GAF View-Master set, and the artwork in the accompanying booklet?  It would be nice to get some art in that style.  In some panels, the art takes a "new-old-look" Irv Novick look, which I liked. Some nice touches are we learn Aunt Harriet's husband's name was Walt, and there is a shot of Gotham lifted directly from the animated opening credits of the series. The Sandman induced dream sequence takes on a trippy-psychedelic 1960s feel to it. On first reading, I did not catch any connection between this story, and Sandman's last panel cameo with Minerva in issue 2 and it seems doubtful that Minerva in that one panel was really supposed to be Sandman's African-American moll, Aurora, who appears in this issue.

 

The second story brings back the TV version of Batgirl, who takes on the Earth Kitt version of Catwoman. Again, Jeff Parker's script is average. He gives no reason as to why there are two Catwomen in Gotham. There is an elongated fight scene that seems like filler material. The artwork by Colleen Coover is very fluid and good, and has an "Archie"/Dan DeCarlo look to it. However, her take on Chief O'Hara is inexplicably as a youngish, strapping redhead.

Overall, issue 5, while not the best, isn't the worst either. It earns a B-.

movie review: THOR THE DARK WORLD

For some reason, my movie review of THOR is this blog's most viewed entry, even though reviews of other Marvel movies, like CAPTAIN AMERICA , THE AVENGERS , and AMAZING SPIDER-MAN  have significantly lower view counts.  So, it is my responsibility to review THOR THE DARK WORLD. 

Alan Taylor takes over the director's reigns from Kenneth Branagh, and there is a shift in the franchise.  The new movie has more CGI and bigger action, but it loses characterization and fun.  The plot is often convoluted, and deals with evil elves (yes...you read that right- evil elves) who developed a supernatural weapon called the Aether.  This coincides with the nine realms converging, and Jane Foster gets infected with the Aether, which causes the few surviving elves to reclaim the weapon so they can destroy all nine realms.  Thor is forced to seek the help of his imprisoned brother Loki in order to save the worlds. 

The majority of the movie takes place on Asgard, in what seems like an attempt to tap into the Lord of the Rings/Hobbit fan base.  Idris Elba, who became a fan favorite as Heimdall, gets a lot more screen time. One of the things that sets the modern Marvel movies apart from the post-2000 DC movies, is that the Marvel films are infused with humor and fun to balance the action and drama.  But THOR THE DARK WORLD takes a hard left turn into DC territory by nearly reaching a level of Christopher Nolan/Zack Snyder humorless darkness.  Not including a few exceptions, the only humor in this movie is provided by Kat Dennings, and there is a funny cameo by Chris Evans as Captain America. 



Why can't they make Hemsworth wear the helmet?

Instead of the character development of the first movie, this time around we get a generic sci-fi action film. The finale when the elves invade  England is a little too similar to the alien invasion in THE AVENGERS, just on a smaller scale.  Chris Hemsworth, who put a lot of character in as Thor in the first movie and THE AVENGERS, kind of just phones his performance in this time. And Thor still doesn't wear his helmet. I mean, come on... the hammer and the helmet are Thor's two biggest gimmicks.  Why won't they let Thor wear the helmet in the movies?  And there were a few moments in the movie where Thor is seperated from his hammer for a length of time, I was thinking, "wow, this would be a great, dramatic moment to have him transform into Donald Blake".  But, alas, the movies have omitted that aspect of the character. Although I wouldn't label THOR THE DARK WORLD a franchise killer, it is far less enjoyable than its predecessor.