Why is there only one episode in Batman: the Animated Series that captures the essence of film noir in both narrative and aesthetics? I am not claiming a greatness of depth for A Bullet for Bullock, but I am claiming a greatness of atmosphere. Noir is a common term associated with this series, but this is the only installment that embodies the genre in full. What an oddity that there have been more screwball comedies than film noirs in what is widely known as a noir series.
Film noir is all about a world of bitterness and corruption, where danger lurks around the corner and anyone is a potential suspect. Harvey Bullock is our hard-boiled protagonist, living his humdrum life with a weary cynicism before he becomes the target of an unknown hit man. Bullock summons Batman to assist him, and two clash in diametric opposition, the untouchable hi-tech crime fighter and the ordinary, unspectacular detective. It gets me thinking about how the often cool, collected, and confident Batman fails to mesh with the mysterious, uncertain world that that is ideal for a film noir. Bullock works much better as a noir protagonist.
Cinematically, A Bullet for Bullock strives for a grittier depiction of Gotham than usual. Snow is ubiquitous and we are not confined to generic Gotham locales. Most of the action takes place on the streets, Bullock’s usual territory. The background designs are less cut from a mold. There are specific locales that Bullock takes us to, be it the cavern-like subway tunnels, a drab apartment complex, or a vacant lot outside a donut shop. I spot streetlights, banners draped across buildings, and smoke and haze emanating from building tops. This is the Gotham City I have longed for, not merely a cluster of skyscrapers and empty streets but an entity in itself with a life and atmosphere flowing through it.
The animation can be choppy, but it works to the benefit of the episode’s style. There is a slick angularity to the designs that is always in a state of flux. Some of the posing is surprisingly noticeable as a result. I have already discussed mise-en-scene but have not even delved into the staging of the fight scenes or the colors or the evocative use of space. All of the fights, continuing the trend of Sideshow, make use of their environments in ways that add elements of suspense and surprise. Bullock’s encounter with Summer is rendered in a fluorescent blue monochrome. Rhythmic skirmishes or murder attempts fade into still long shots of atmospheric spaces or perhaps a camera pan up from the street to a full moon set against a snowy sky.
And the music, a jazz arrangement by Harvey R. Cohen, is the ideal accompaniment to such a lush genre piece. It deviates substantially from the heavy orchestration of most episodes while still retaining its dramatic sensibilities. Though I have no interest in awards, the fact that Cohen’s score won a Daytime Emmy speaks to its uniqueness. It took people by surprise in how well it emulated the musical atmosphere of a classic film noir. This rich jazzy score stands out as the most recognizable attribute of A Bullet for Bullock, perhaps the best reason for why so many fans adore it.
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‘A Bullet for Bullock’ is an episode with perfect artistic mood. It is reminiscent of old pulp detective stories, filled to the brim with grimy interiors, gloomy subway stations, and dark skyscrapers. On spectacle alone, this episode is grade ‘A’ material. It looks like classic film noir transferred to a children’s cartoon series. But that’s just the surface. I could go on and on about the beautiful use of shadow, the small mundane details like the steam from Bullock’s coffee mug, the beautiful monochromatic color scheme of Summer Gleason’s office, the animation work by Studio Junio, and all sorts of other artistic tidbits, but it would just be too much. I’ll just leave off here with the point that this episode is visually beautiful in every sense of the word.
Now the story is really just a linear detective whodunit affair. Now, in the case of other episodes such a predictable and straightforward plot as this one would be criticized, but here, it’s done wonderfully. Even though it’s easy to tell from the beginning that Nivens is the man who’s been gunning for Bullock, it doesn’t matter at all. The joy isn’t in awaiting the identity of the culprit, but rather the mood and atmosphere that emanates from such a classic noir storyline. Even though I know it’s Nivens, I’m less concerned about the goal of Bullock’s and Batman’s investigation than I am with what happens to them along the way. And besides, when it’s finally revealed to be Nivens, it’s actually hilarious and ironic, in the sense that our two protagonists have been searching for the vilest scum in Gotham, and in reality the villain is someone so utterly sophisticated that he was too repulsed by Bullock’s filthy demeanor. It’s brilliant.
But that’s just the plot, as for the dialogue and character interplay, this episode is almost unparalleled. Witty lines of dialogue just roll off the tongues of the characters. Alfred’s comparison between Bullock and an unmade bed and Bullock’s reply to Montoya’s question as to what he’s doing for New Year’s are both hilarious and it’s such a treat to not only get a dark moody episode, but one filled with funny dialogue as well. But the real star here is Bullock. Part of the reason that the plot’s predictability isn’t worth criticizing is because Bullock is one of the most likable, funny, and all around enjoyable characters in the series, and it’s a pleasure to watch him on screen so much that the story really isn’t of interest. But here’s the thing: the episode isn’t just an excuse to show off Bullock and his quirks, but it actually raises some interesting points about his character.
The episode really puts the viewer into Bullock’s shoes and makes his behavior understandable. We find that he lives in a rundown apartment, that he’s always busy, that he’s had bad relationships, and that his whole career hasn’t done much of anything for him. With such an unhappy life, it’s no wonder he dislikes Batman, who doesn’t have to play by the rules, who has earned the trust of more people than he has, and who has fancy gadgets and vehicles. It’s interesting watching Batman speak down to Bullock and Bullock’s irritated reaction. It’s easy to sympathize with him, no matter how much of a lowlife he is. At the end of the day, this episode makes the viewer appreciate that Bullock finally got his own spotlight episode, and it leaves you with more respect for the man than one might ever think possible.
The final aspect I’ll address about this episode is absolutely perfect musical score. Honestly, the jazzy music of this episode is probably my favorite music in the entire series. Not only do I adore jazz music, but it also fits the noir atmosphere of the episode so perfectly. If the visuals weren’t already enough to make this episode a perfect homage to classic pulp detective films, then the music certainly completes it. It seems to have been such a bold choice on the composer’s part to almost do away entirely with traditional orchestral music and rely completely on classic jazz. Not to bash the orchestral music of the vast majority of the series, but after a while, there’s a point where it all sounds too similar and the music almost feels the same from one episode to another. The distinct sound ‘A Bullet For Bullock’ really makes the episode stand out from the rest of the series. Hearing the ‘Batman’ theme performed jazz style is too great an experience for words.
Overall, I absolutely adore ‘A Bullet for Bullock’. It’s an episode that I could probably watch once a day for the rest of my life, and sometimes I wonder why I don’t. It’s really that much fun.
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