Eartha Kitt photographed as Catwoman for the television series Batman, in which she appeared from 1967 to 1968.
Also, crazy, but five minutes after this article was posted, someone commented about how poorly written the thing was because I misspelled James Van Der Berk as Josh Van Der Beak. Obviously, the spelling of Dawson Creek’s name matters to me about as much as who the president is matters to a Gitmo prisoner, but like all personal criticisms, it is fun to imagine it being voiced by a frentic Jack Bauer on the search for nuclear bombs.
"Chloe, the name of the Varsity Blues star wasn’t James Van Der Beak, it was James Van Der Berk! DAMNIT!
I don’t know why I’m Chloe in this scenario. I feel I’m at least a Tony.
And then Didio says “Make sure she’s a strong, sexy female character, Judd,” and Winick says “You got it, boss!” and then I’m doing Batman with my heels still on like a goddamned Image comic.
You know, cat-themed superheroines always vamp around, making sexual innuendos and wearing skimpy outfits… just once, I’d like one that misjudges the distance jumping from a desk to a couch and totally eats it.
You remember when Selina was in the airport and she was trying to get away unnoticed but she was wearing the most NOTICEABLE OUTFIT EVER
SELINA I THOUGHT YOU WERE SUPPOSED TO KNOW HOW TO BE STEALTHY
AND BLEND IN
THAT’S LIKE YOUR THING ISN’T IT
What’s more important, stealth or STYLE?
Article! Read this thing!
I just find it weird how TDKR is deconstructing the entire idea of Batman going out in a blaze of glory because the only way his war on crime can end is with his death, and yet instead of praising this reversal of expectations and broadening view of the character, a lot of fans are attacking it. And this after people attacked The Dark Knight for having a small (but significant) character arc for Bruce.
What exactly would Bruce’s arc be if the movie were to end in his death? That he has to be willing to sacrifice his life for the greater good? Doesn’t Bruce already know that? Does anyone believe he wouldn’t have given his life to stop Ra’s al Ghul in the first movie? That if it weren’t for two and a half hours of character-building in TDKR, he’d run like a craven coward instead of dying?
"Batman, the only way to save the city is for you to defuse the nuke. You’ll be exposed to lethal radiation, but millions of lives will be saved." "Fuck that, I’m outta here!"
|—||My sister’s response to Bruce Wayne’s companionship at the end of TDKR, if she were Catwoman.|
ITA with this except for one thing (which is not even a contradiction, just a note):
I think that Bruce Wayne does intend to give the pearls to Selina Kyle at the end, whether he is alive or not. He bequeaths the pearls to her in his will. So for sure, he intends to “gift” her with the necklace, he wants her to have the pearls.
BUT it’s implied that Selina actually steals the pearls before she can properly “inherit” them from the executors of the will.
So the pearls become a symbol of something else entirely from death and loss and mourning. They become, not only a symbol of Bruce Wayne’s willingness to let go of the past, and to allow the pearls to become again a representative of love and affection, and also a symbol of his feeling of connectedness to Selina. They also become a symbol of Selina’s way of taking whatever she wants from Bruce — whether he is expecting it or allowing it or wants it or not!
I just think it’s clever that even though he’s willing to give her the pearls, which mean so much to him and which he is allowing to take on a new meaning by allowing her to have them, she won’t allow him (dead or alive) to just hand them to her. She’s going to take them on her own terms, through her own means and methods.
Just like she doesn’t just win his heart, she steals it.
So as every Batfan knows, pearls are the symbol of the murder of Bruce Wayne’s parents. They’re a repeated image in two Batman classics, The Dark Knight Returns and Batman: Year One, where Martha Wayne’s shooting results in her pearl necklace breaking and scattering across the ground. They show up in Batman Begins, given an especial emphasis by having Bruce remembering his father actually giving them to Martha.
So far, so good, right? Then we come to The Dark Knight Rises and Nolan actually does something new with the most famous iconography in comics. Selina Kyle, breaking into Wayne Manor and incidentally kickstarting Bruce Wayne back towards the suit, swipes the pearls while she’s getting his fingerprints. Bruce confronts her about it and says he can’t let her take them. As you might expect, he doesn’t really mind that someone’s stealing from him—it’s more that they’re his mothers’ pearls. But still, he’s not outraged either. He’s frosty. Cordial. The pearls don’t mean anything to him, not anymore, they’re something he’s irrationally holding onto. Deadweight.
The rest of the movie, we have characters telling Bruce about his deathwish, how he doesn’t have to keep being Batman, how he can have a happy life, but it isn’t until the finale that he truly accepts this. And the pearls are a perfect visual metaphor of that. While faking his death, Bruce takes the time to grab them—not for himself, but as a gift for Selina.
I’ve noticed some people asking what the point was of Catwoman in TDKR, since most of what her character did could’ve been accomplished by other characters in an admittedly overfull movie. But even though she was an engaging, entertaining character in her own right, her real importance to the story is in symbolism. If Bruce just faked his death and ran off to Italy, we’d have no way of knowing he wouldn’t become a hermit again or even be drawn into becoming Batman once more.
By showing him with Selina, we can see he’s taken the film’s lesson to heart. It’s not just that he lets go of the pearls, it’s that he gives them to Selina. He’s moving on. He’s releasing both the stigma of his parents’ murder and the fantasy of a romance with Rachel, something that never would’ve worked, something that was proven to be impossible; and proven again with Miranda Tate, a seemingly-similar character to Rachel, idealistic and comforting, but now twisted into a deathly apparition.
Selina is someone who can understand what he’s been through, because she’s been there herself. The idea of a lover as saintly redeemer is gone. Selina is Bruce’s partner and equal, as reiterated throughout the movie in both action and dialogue. And in the end, the pearls that were originally intended by Thomas Wayne as a gift for his wife come full circle. They’re not a symbol of death anymore. They’re not deadweight anymore. In giving them to Selina, Bruce once more gives them meaning. They are, again, a token of affection.