GOODBYE, KEVIN CONROY...

Your voice enthralled several generations of Batman fans, ringing strong, noble, and with a generous and respectful Adam West touch.

Batman: The Animated Series started it all, followed by Superman: The Animated Series, Batman Beyond, Justice League and Justice League Unlimited. 

And so much further did it extend with such feature-length adventures as The Mask of the Phantasm; Batman and Mr. Freeze: SubZero; Batman and Harley Quinn; Batman: Mystery of the Batwoman; Batman Beyond: Return of the Joker; Batman: The Killing Joke; Batman: Assault on Gotham; Gotham Knight; The Batman-Superman Movie; Superman/Batman: Public Enemies; Superman/Batman: Apocalypse; Justice League: The Flashpoint Paradox; Justice League: Doom; and Justice League vs the Fatal Five.

In addition to the aforementioned, you lent your superb voice to He-man and the Masters of the Universe, Scooby-doo, Teen Titans Go!, Brave and the Bold, and more than a few DC Animated Shorts and DC-geared video games. 

You even blessed fans with a swell, live-action role as Bruce Wayne on CW's Crisis on Infinite Earths. (Now, that was truly historic!) Oh, and then there were your recurring roles on Dynasty, Another World and Search for Tomorrow, as well as so many stage and film spots to make one's head spin, including the frenetic Face of Fear, the futuristic Island City; the comedic Hi, Honey - I'm Dead; the miniseries Kennedy (as Ted) and George Washington (as John Laurens); plus an ongoing stint for the Vietnam-based Tour of Duty. 

Though death may have silenced you, Mr. Conroy, your varied expression lives on: as everlasting a beacon as the Bat Signal, as welcoming as any Dark Knight (and beyond!) portrayal could aspire to be. 

HAPPY 25TH ANNIVERSARY MASK OF THE PHANTASM!!!

On Christmas Day 1993, the first, full-length Batman animated feature occupied theaters. Though it wasn't the financial success of Tim Burton's live-action, Caped Crusader movies, "Batman: Mask of the Phantasm" still made a favorable impression on those who viewed it. Over the years, the film's reputation has only grown, making it one of the most applauded submissions in the Dark Knight's decades-spanning canon.

On November 12, 2018, for one night only, Fathom Events will once more project "Mask of the Phantasm" upon theater screens to mark its 25th anniversary release. 

Written by Alan Burnett, Paul Dini, Martin Pasko and Michael Reaves; and directed by Bruce Timm and Eric Radomski, "Mask of the Phantasm" sprung from the popularity of the WB's "Batman: the Animated Series", though granted greater depth than the show's half-hour slots could generally contribute. The movie remains of particular interest to fans for its origin segments of Batman and the Joker, which hold their own with subsequent, acclaimed retellings.

Like Burton's '89 film, "Mask of the Phantasm" depicts Gotham via symbolic dilapidation, as Batman is accused of a string of mobster murders. Though Joker dominates the backdrop and the film's finale, the actual murderer is a spectral, blade-clubbed vigilante named the Phantasm, who Bruce Wayne comes to discover is an individual near to his heart. The reveal may not be that huge a surprise, but the poignant way in which it's rendered has rarely been matched in any Batman movie, whether animated or live action, not to mention the printed page. 

Shirley Walker's soaring score is on a par with Danny Elfman's memorable orchestrations, and the movie makes effective, extended use of Kevin Conroy's Adam West-esque vocalization, as well as Mark Hamill's Blue Meanie-mimicked Joker. (Dana Delany, who would later enliven Lois Lane on WB's "Superman: the Animated Series", acts as the haunted Andrea Beaumont, with Efrem Zimablist Jr as Alfred Pennyworth; Robert Costanzo as Harvey Bullock; Bob Hastings as Jim Gordon; Hart "Supergirl '84" Bochner as Arthur Reeves; Abe Vigoda as Salvatore Valestra; Dick Miller as Chuckie Sol; and Stacy Keach as both the Phantasm's commanding voice and Beaumont's gangster-tied father, Carl.)

Many believe that "Mask of the Phantasm" would have been as effective via live action. That's understandable, considering the story's engrossing execution. The concept defines the Dark Knight's complex, atmospheric essence, capturing the character's Bob Kane/Bill Finger foundation through the cynical, Neal Adams '70s and those later, pensive phases of Frank Miller and Norm Breyfogle. There's no question that, if any DC animated entry should strike one as good, it's because "Mask of the Phantasm'"s sophisticated influence has, in one way or another, paved the way. 

There's no denying that "Mask of the Phantasm" is and always will be the epitome of what Batman was meant to be, could be and will forever be: an anguished, poetic blueprint that fans, creators and eager idealists continue to relish and revere. 

Revisit "Mask of the Phantasm" when you can, if not on the big screen, then on VHS or disc in the privacy of your home. The movie has more than demonstrated its noteworthy status and if for that reason alone, deserves a revived period of dutiful devotion.  

I saw the Killing Joke...

Before I saw "The Killing Joke" (dished up now as an apparent "Suicide Squad" warm-up), I read it: that is, I purchased Alan Moore and Brian Bolland's '88 graphic novel. At the time, the publication was all the DC rage: a mere year before Tim Burton's "Batman", which incorporated the novel's concept of how the Joker biochemically came to be. 

The novel is considered a classic. As such, it seems strange that it's taken this long for an adaptation (animated or otherwise) to reach film.

Nonetheless, the time has finally arrived, and as with the "Dark Knight Returns" two-part animated adaptation, the big question is, does "Killing Joke", the movie, live up to its comic-book foundation? I'm happy to report--heck, yes!!!

That the film, directed by Sam Liu and adapted by Brian Azzarello, adheres to the original source is to its advantage, though it also offers an affluence of additional footage: a sort of mini-film within itself, but that's all right. Once the story gets rolling (and alas, it does take a spell), it successfully sways between terror and poignancy, just as the original story does. 

Beyond the spirited (and unique-to-the-film) Batgirl, prologue, we're finally introduced to the Joker, who's presented as an aspiring comedian, struggling to provide for his family, but turns to crime (of the Red Hood sort) to compensate for his monetary failures. However, just prior to his first, big job, he learns that his wife and unborn child were killed in a home mishap. Their deaths lead to his complete, mental breakdown and to supplement his psychological alteration, he falls into some toxic goo, and well, you know the skin-bleaching rest.

As in the novel, the movie focuses on Batman's intent to unravel his foe's origins. He visits Arkham to get the nitty-gritty (and to prevent the strong chance that one will likely kill the other someday). However, he finds a decoy in the Joker's place. Yes, the Clown Prince of Crime has escaped once again, with mayhem naturally ensuing, this time with Commissioner Gordon and his daughter, Barbara (Batgirl, of course) becoming casualties of his spree: the latter shot and the former placed in a carnival "arena", where the Joker intends to prove (primarily to Batman) how fast madness can consume one. 

The novel concludes on a demented, but gleeful note, and the film mirrors this celebrated turn. The movie's style, however, is more in tune with the '90s Batman animated series: not religiously so, but close enough to appeal to those who've yearned for a return to that style of cartoonery. Also, from the '90s series, Kevin Conroy and Mark Hamill are back as Batman and Joker respectively, which solidifies the tense, sentimental feel. (Ray Wise and Tara Strong also do a swell job vocalizing the Gordons.)

Gordon's sideshow-based torture is undoubtedly what earned "Killing Joke" a R-rating. Personally, though, I didn't find the intensity anymore over-the-top than in other "adult" oriented, DC animated features, but perhaps the extended, insinuated nudity is what confirmed this one's designation. All the same, sissified kids won't handle any of it very well, but I don't see it proposing a problem for those youngsters whose parents actually discuss such in-depth content with them. Heck, as hard-hitting as "Killing Joke" may be, it's still a worthy morality tale: more good for the soul than bad. 

It's also a damn good character study and an appeasing escape after those "Son of Batman" in-fighting offerings. Sure, it's grim and borderline sadistic, but it's still traditional Batman, with the conflict flowing just the way it should for this particular hero and villain. No matter how one slices it, whether on the printed page or on the screen,"Killing Joke" hits the maniacal mark.