Bad Girl Movie as a Spin Off of the Batman Franchise

In bringing out the idea of morality, choice and idealism, script writers of Catwoman and Batman franchise movies delve deep into the character and weigh options on how these ideals can be pragmatically realized to blend well in the film, while highlighting the suspension of disbelief on the audiences on comic book film. The script writers strive to narrate stories in fictitious ways which can at the same time be comprehended as commentary on today’s right and wrong on a morally challenged world.

The idea of a bad girl movie as a spin off of the batman franchise is a good one in the sense that it attempts to push for women empowerment unwillingly to be accepted in the patriarchal society today. It was also a bold move to break the monopoly experienced in screens of bad guys depicting male chauvinism in society and opens doors in the sequence of the sexually enticing adversary (Burton 1992). Bad girl character illuminates the female character who uses her charm to disarm, and through wit strike the opponents as they are not the type of criminal they are used to chasing.

In this case the female audience can relate to or see their other side of the coin while the male audience lust for her entices. The comic movies of the Catwoman, the female character enables the female audience associate with rather than in the classical movies where there is the masculinity theme-woman awaiting the hero to rescue her. Catwoman movies are important in the women empowerment, raising the societal consciousness. In this case the ladies do not have to suppress their potential consciousness in the favour of male characters.

As villain in the film the bad girl brings out the element of reality with the wickedness which to viewers may be sweet or awesome and associating with takes the fiction to the level of plausibility (Novi 2004). This is imperative in the contemporary society in the easing the degenerative culture in respect to women and bringing out the role in equality as the bad girl is still capable of such feats as her counterpart in highlighting the evil in society.

Through this the bad girl character sums up the problems in the society and fighting these problems is the responsibility of all men and women, and therefore it makes sense to involve all in employing the different tactics in combating the evil. In the film Catwoman produced by Novi (2004) the idea of bad girl is very essential in capturing out the conflict in the plot development in the whole film. Patience in her bid to find out who is responsible for her present form is taunted by the bad girl Laurel Hedare leading to the development of the entire conflict.

Her supernatural character makes her more lethal than George. There is that feminine-jealousy-conflict expressed between the criminal Laurel Hedare and Patience and in the struggle to fight for morality has made the two symbols of feminine power where the audience can associate themselves with. Idealism is portrayed in the manner of the human traits expressed, which the audience fall in favour including the determination and wisdom in every move. In the creation of the Bad girl movie along the Batman character traits, there is that imagery of the master criminal lethal and agile in the antagonism force.

In reality, the odds are that rough and the bad girl has such a force that has to be overcome with wit and cunning. Indeed it the idea of change is highly eminent is the bad girl character in the Batman franchise as empowerment has brought independence in the women of modern society. The women characters in this case do not have to be rescued by the men but can overcome their challenges and even help others. The audience is now treated to better villains as the protagonist faces deadly and seductive Catwoman (Burton 1992).

The audience loath and same time empathize with the protagonist who has to endure all the pain and torture but rejoice on his eventual triumphs over the evil woman-driven by jealousy, hatred and determined to harm all on her way in suffering and torture. In the video Batman Returns directed by Burton (1992) vividly depicts Gotham City as troubled waters with its population threatened with eminent extinction but the audience fears not because the antagonists and protagonists forces are at work and calm must eventually prevail only that suspense play tricks on them.

The bad girl movie in follow-up of the batman franchise has been a success in that it has improved its rating as a hybrid of the two ideas. The fight movements’ characteristic of Capoeira martial style of Brazil is more convincing and entertaining than the usual speed in vehicles in action movies, which is mostly used to create excitement. The nocturnal playground in the visual effects creates the grotesque images that build up tension and anticipation among the audience.

Occasional lights and music eases the tension releasing the cathartic effects and keeps the audience anticipating for more actions. By bonding in the qualities and ideas the Catwoman has brought fortunes in the comic industry and set standards for future female actresses. Through the actions of the Catwoman, the Batman is actively in motion countering all her foils, on which we realize his desires and the need to be healed of them. In the comic films, the Catwoman harbors soft spots for the hero’s heart and operate outside the law within her morality code (Burton 1992).

The Catwoman prowess is evident in her ferocious femininity that flaunts her intellect as well as constantly teasing the Batman in all his attempts. The in vogue of bad girl movie is credited for rejuvenating the declining sales of comic industry and pioneered in the era of realistic and subtle characters. The antithesis created by the Catwoman’s fear of Batman’s wrath represents the embittered feminist in Gotham streets who has to use all means to survive, symbolically pointing to the harsh realities of women of 1980s had to endure and hence the fight for change (Novi 2004).

The adoption of bad girl characters has also been attributed to the development of the Batman movie and the sequential realization of the three successful sequels. The idea of a woman acquiring power in her life and showing the independence was more enterprising on the producers and equally appealing to the audiences hence the positive reception. Selina points her feminist stand when she says, “Life’s a bitch, now so am I”. She is portrayed as a woman not bound by gender boundaries and a symbol of the end of domestication by societal constructions of the place of the woman.

In analyzing the her criminal motives, there is the shift of identities in that Catwoman is sometimes nice and other times portrayed evil in the characteristics of the domestic cat. This is the context representation of the villain capable of anything and defying the gender stereotypes of the contemporary society. The Catwoman is portrayed as a complicated woman, surrounded by conflicting desires and emotions and flexible to change to suit her mind peace. Although her character is outside the law she doesn’t accept patriarchal punishment, but her delicate will checks her morality.

The Catwoman here is created by the script writer as treacherous female who laughs at the social rules which are only possible in the world of comics (Burton 1992). In summary, the bad girl movies have played a paramount role in the development and eventual success in the Batman franchise as have boosted the comic industry to a higher notch. From the feminist perspective, they have been a force to recon with in the role they have played in the empowerment of the women in the contemporary society.

The Catwoman has been depicted as influential force in breaking down the social constructions of the patriarchal society that continued to denigrate the place of woman. The mentality portrayed here is not one to be morally accepted in the realistic world but only for the feminists to take the cue and drum for change in society. The Batman being the guardian of the society is faced with another daunting task to keep the rebels at bay although he is susceptible to the change itself and hence falls in the traps of emotions.