When I was in high school and The Dark Knight came out, like millions of other people, I got excited about Batman. Unlike most people, I actually tried to get into current Batman comics. However, while Warner Bros. had a certified monster hit on their hands, getting millions upon millions of people excited about a guy named Bruce Wayne who dressed up as a bat and punched criminals in the face for the first time or the first time in a long time, DC Comics, their subsidiary that had originated the character had done perhaps the worst possible thing they could do for this moment:
They killed Batman.
Ok, to be fair, he was actually zapped back in time by the Omega Beams of the omnipotent despot Darkseid, but we found that out later. Now, Batman was definitively dead, with former Robin Dick Grayson forced into taking up the mantle instead.
These circumstances were due, I was told, to writer Grant Morrison, who had killed Batman off in the pages of the big “crossover event” of the year, Final Crisis, while simultaneously driving Bats crazy through the psychological torture of the evil Black Glove organization in the concurrent “Batman R.I.P.” storyline in the pages of the eponymous comic. I read both those storylines and came away very, very confused.
Final Crisis was bursting with an insane amount of ideas–the most prominent of which involve the superhero/New God Orion dying and Darkseid finally obtaining the “Anti-Life Equation” by unlocking the components in people’s minds through the Internet and gaining complete control over every sentient being in the universe–but it’s a fevered mess that resolves in a really trippy, goofy way. (I should stress that I haven’t read the story in years, but it still leaves a bad taste in my mouth).
“Batman R.I.P.” felt similarly muddled and rushed; I felt like I had wandered in late to something. It turns out I had. Beginning with the introduction of Bruce’s biological son, Damien, in the “Batman and Son” storyline, Morrison–across multiple titles and with the help of various artists including Frank Quitely, Cameron Stewart, Andy Kubert and Chris Burnham, among others–embarked on a gigantic story putting Batman through hell and back. One of the big things Morrison stressed was that every Batman story ever written–going all the way back to 1939–had actually happened to the character.
Again, that’s a hell of an idea. The kind of big, showy thing that Morrison–who crossed over into American comics in the 1980s as part of the vaunted “British Invasion,” alongside Neil Gaiman and Alan Moore–has spent his entire career doing. But excised from the whole, “R.I.P.” confused the heck out of me, although I have gone on to read some more of his Batman run and enjoyed it immensely (particularly his amazing Batman & Robin run). Whether I just got bad advice or DC’s marketing department didn’t clarify well enough, I was left cold on Morrison.
But then when I turned 18, I received both volumes of his amazing, transcendent, lovely All-Star Superman for my birthday and fell in love with his reverent-but-not-too-reverent approach to comics history and his optimistic, awe-struck view of the Big Blue Boy Scout. The following year, I asked for his memoir/superhero comics history Supergods. Again, I was swept away by his captivating, bombastic prose and rock-and-roll personality (although his more out-there views I was a little less than sold on). His Action Comics run in DC’s New 52 reboot was something I also enjoyed, and I’m looking forward to his long-awaited The Multiversity series when it comes out in trade.
I tell you that rambling to tell you this: if you’re in a similar place where I was with Morrison, you owe it to yourself to check out the Respect Films/ Sequart documentary Grant Morrison: Talking With Gods, released in 2011 and available on Hulu.
Constructed chronologically through several interviews with Morrison himself–shot in several locations, as indicated by the sudden changes in background and outfits he undergoes–as well as his friends and fellow industry pros, Gods is a brisk eighty-five minutes. No particular area of Morrison’s life and career feel shafted. Director Patrick Meaney shoots his subject in straightforward ways, and isn’t afraid to make the images on screen abstract–whether it be a shot of Morrison walking or a strange panel from one of his comics–when Grant’s voiceover goes into the obtuse range.
Meaney and DP Jordan Rennert–who, I must add, are delightful gentlemen in person–construct and compose their talking head shots with maximum clarity. While Morrison is the foremost voice on display here, he’s not the dominant one. Having so much outside perspective allows the viewer some distance from the more hard-to-take anecdotes Morrison offers, such as his claim that a visit from fourth-dimensional beings where he was shown the true nature of the universe inspired his Vertigo series The Invisibles. Conversely, in Supergods, readers had to take Morrison’s claims at face value.
The one fault I have with this movie is something I suspect the filmmakers had no control over. When Morrison’s wife, Kristi, enters the narrative, she’s praised by all who talk about her as an overwhelmingly positive influence on Grant’s life and work (she also acts as his manager). It’s bizarre, then, that she’s never seen outside of photographs and not even interviewed. Maybe she declined to be on camera, which I can understand, but her importance to Morrison that the film stresses is undercut by her absence.
Regardless, this is a well-done independent film and a good documentary that will make you sympathetic to someone who’s a rather polarizing figure in comics culture. It is very much worth your time.
NOTE: As the header says, this is the start of Grant Morrison Week. We’ll be back Friday with a look at one of Morrison’s most famous works.