PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTIONS: *psychological, sociological*
By the time this
crossover episode aired, it probably came too late to boost the
ratings of THE GREEN HORNET, which the same producers
had launched in response to the success of BATMAN. As TV crossovers
go, it’s satisfactory enough, though Charles Hoffman’s script
suffers from a weak villain—created to be weak, one might think, so
as to not distract from the four crimefighters too much.
Though the Green
Hornet (Van Williams) and Kato (Bruce Lee) have their own city to
patrol—wherein they pose as wanted criminals in order to get the
goods on real crooks-- for unspoken reasons they decide to
investigate a criminal in Gotham City. Said malefactor is Colonel
Gumm (Roger C. Carmel), the foreman of a stamp-making factory owned
by heiress Pinky Pinkston (Diane McBain). Gumm’s main perfidy is
that using his employment as a cover for counterfeiting rare stamps
and selling the illicit items to collectors,,though by the episode’s
conclusion he also plans to rip off a famous rare stamp known as “the
Gotham Gothic.” He’s apparently outfitted the factory with
super-villain weapons in case of crimefighters, though for once we have a villain who's not trying to garner attention for his crimes.
Gumm's boss Pinky is somewhat of
an anomaly in the Bat-series. Though she acts like a society airhead,
dressing all in pink and pretending to talk with her Maltese dog
Apricot, Pinky proves to be reasonably clever. She's suspicious of Gumm early in the episode, and when the villain kidnaps her, she finds a way (however preposterous) to leave a trail for the
crimeifhghters. Moreover, she’s socially acquainted with both Bruce
Wayne and Britt Reid, the respective civilian identities of Batman
and Green Hornet. The precise backstory between Bruce, Britt and
Pinky is not laid out. It's only stated that Bruce and Britt have been
“rivals” for some time, possibly over Pinky, though she never
makes romantic overtures toward either man. Thus their attempts to
charm her may reflect more male rivalry than actual interest in the
woman. Of course, the main purpose of the rivalry is to prefigure the
inevitable conflict of Batman and Robin with the Hornet and Kato--
though in some ways the Bruce-Britt conflict is more interesting.
All four crusaders
turn up in Gumm’s factory and get mousetrapped. Having Gumm trap
Batman and Robin on an “undetachable glue pad” is no worse than
many other larger-than-life perils in the series. However, the Hornet
and Kato are subjected to one of the series’ stupidest deathtraps:
feeding them into a machine that will supposedly turn them into giant
stamp-reproductions of themselves. It’s a minor consolation that
this does not actually happen, though the villain seems to believe
it’s actually possible—and once again, we see a writer indulging
in cartoony silliness, such as would become common in the third
season.
There are a handful
of moderately clever moments amid this tomfoolery. The
“window-climbing” guest-star, actor Edward G. Robinson, makes an appearance in order to hype his reputation as a real-life art expert, which involves
sneering at the very “pop art” that helped give rise to the
BATMAN series. Robin does a role-reversal in which he assumes a
dominant attitude toward his senior partner, though at the episode’s
end Batman’s still the only one astute enough to guess that Hornet
and Kato are really good guys. But the episode’s highlight is the
big climactic fight, in which the Dynamic Duo battle both Colonel
Gumm’s goons as well as Hornet and Kato. It’s a better
choreographed fight-scene than the average Bat-battle, even if the
heroes of the two respective serials are obliged to fight to a draw.
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