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I read an interesting essay in Variety by Lorenzo Semple Jr., series creator of the 1966 Batman television series. What struck me as interesting was his description of the sort of attacks he received in regards to his self-proclaimed “cheeky” adaptation of Batman:
The experience of getting TV Batman airborne was pure pleasure, and I hope explains why I disappoint those folks who ask me my opinion of bigscreen Batman, doubtless looking for something juicy. Apples and oranges. Their complex hero is not my innocent, brow knitted as he and Robin dig deep to decipher one of the Riddler’s third-grade-level puzzlers. Who knows? Folks who prefer the new guy may well be right. Several years ago, a scholarly avant-garde science-fiction/comicbook fan mag — yes, there actually are such things! — ran an issue with this banner on the cover: “Lorenzo Semple Jr.’s Hate Mail!” And indeed, there were colorful samples of such mail inside. The accusations were that I had dissed Batman in the TV series, not treated him with the gravitas he deserves.
I always hated the sort of fanboy/girl elitism that spoke against the 1966 campy gem of a television series. People were angry that Mr. Semple had “dissed Batman in the TV series,” but I always found the series to be playful and loving. He showed a great respect for the material by finding a new voice for it. How many others would look at the story of a vengeful orphan and see a source for satire or camp? No disrespect to Christopher Nolan, whose work on the franchise I admire, but I would even argue that on a conceptual level it is harder to find humor in the scenario than drama.
After all, isn’t a writer supposed to create rather than regurgitate? Just as Nolan found a new voice for Batman by creating a personal, more realistic story, Semple employed his own comic voice and created a pop icon that could be reinvented for years to come.
