Batman advisory: There is no alley in Crime Alley!
This is a repost/edit of comments I made on Tor.com, in response to a YouTube supercut which purports to depict every screen depiction of the murder of Bruce Wayne’s parents, although it omits the recent flashback version from Beware the Batman‘s episode “Monsters” and the dream-sequence alternate version from Justice League Unlimited‘s “For the Man Who Has Everything” (which is not a depiction of the actual murder, but is the closest the DC Animated Universe ever got to showing it, since Batman: The Animated Series was made under severe censorship and could never do more than symbolically allude to the event).
One thing that virtually all these screen adaptations have in common (albeit something that was pointed out to me on another site recently but that I think is worth passing along): They make the mistake of interpreting “Crime Alley” as an actual alley, of the sort that a rich couple would have no conceivable reason to take their child into at night. In fact, when Crime Alley was introduced in 1976 in Detective Comics #457 by Denny O’Neil and Dick Giordano, it was introduced thusly:
Twenty-one years ago, this neighborhood was the dwelling place of the rich and soon-to-be rich… a place of gourmet restaurants and fashionable theaters… of elegant women and suave men…
But the dry rot of time set in, and the laughter stopped and the lights dimmed, and those elegant women and suave men sought their pleasures elsewhere… and now, only the forlorn and the desperate walk these streets…
For one night, two brutal slayings occurred signaling the beginning of the end… The area known as Park Row acquired a new name — Crime Alley… and —
“THERE IS NO HOPE IN CRIME ALLEY!”
(That last being the story title. All ellipses are from the original text — I’ve deleted nothing.)
So “Crime Alley” is just a nickname for the street/neighborhood — it’s not a literal alley. The artwork shows that the spot where the killings occurred — or the spot where Batman stops a mugging and gets inordinately angry at the mugger for daring to draw a gun on him there, on the exact spot and anniversary of his parents’ murder — as the sidewalk in front of a row of brownstones, just a couple of doors down from the movie theater (which has become a porno theater in the story’s present day).
Before that, in the original 1939 depiction of Batman’s origin and later in 1948’s “The Origin of Batman,” the murder occurred on a street corner right under a streetlight. So in the comics, it was consistently portrayed for decades as a crime that happened right out in the open, making it all the more shocking and brazen. In O’Neil’s version, the fact that such a brutal crime happens in an upscale neighborhood just adds to the shock, to the extent that it scars the reputation of Park Row forever and triggers its decline into a slum as the well-to-do residents flee. The tendency of TV and movies to put it in a literal back alley, the kind of place where you expect a crime to happen, detracts from that impact, and creates the impression that the Waynes were killed as much through their own carelessness as Joe Chill’s brazenness (of course you should never blame the victim, but the impression exists nonetheless).
The only accurate screen portrayal is in Batman: The Animated Series. “Appointment in Crime Alley” (by comics scribe Gerry Conway) portrays it just as O’Neil did, as the former Park Row, now become a slum neighborhood. The actual site of the murder is shown as a sidewalk under an elevated train track. A couple of dozen episodes later (and presumably a year later in story time, since they’re both on the anniversary), “I Am the Night” shows the same, but now the tracks are wider, the sidewalk under them looking darker and more enclosed, thus drifting farther from O’Neil’s intent.
But then there’s the hallucination sequence in “Dreams in Darkness” where Batman sees his parents in a surreal, twisted alley and they then walk into a tunnel that becomes the barrel of a giant revolver. And JLU’s “For the Man Who Has Everything,” supposedly set in the same universe, shows it in Bruce’s memory/dream as an alley directly across the street from the movie theater showing The Mark of Zorro. So that’s another one that gets it wrong. B:TAS is really the only screen adaptation that followed O’Neil’s intention behind the name “Crime Alley,” and yet it was inconsistent about it, and never actually got to show the murder.
Oh, and while we’re at it, how about that movie the Waynes were coming home from? In the 1939 version, it was just “a movie,” no title given. In 1948, it says merely that Bruce was “walking with his parents,” no movie mentioned. The movie was back again by “There is No Hope in Crime Alley” and by Len Wein and Jim Aparo’s 1980 storyline “The Untold Legend of the Batman,” which consolidated all the backstory established about the character up to that point; but still no title was given. The first time an actual movie was proposed, to the best of my knowledge, was in the very first screen portrayal of the murder, in the 1985 Super Powers Team: Galactic Guardians episode “The Fear” by Alan Burnett, which I’ve discussed before. In Burnett’s version, the movie was Robin Hood, perhaps meant to inspire Batman’s future choice of nickname for his sidekick. (Note that Burnett’s version also debuted the practice of portraying the murder site as a dark, scary alley, which suited the episode’s theme of Batman overcoming fear, but set an unfortunate precedent.) However, just a year later in Batman: The Dark Knight Returns, Frank Miller established the film as The Mark of Zorro, which is what most versions have used since then — the main exception being Batman Begins, which changed the movie to an opera, Mefistofele by Arrigo Boito (though it’s often mistakenly assumed to be Johann Strauss II’s Die Fledermaus — “The Bat” — because of the bat-costumed performers in the movie scene).
Since “The Fear” was the first version I saw, I assumed for a long time that the movie was supposed to be Robin Hood and that the Zorro version was a later retcon. Turns out the Robin Hood version was just a blip. It was no specific movie at all from 1939 to 1985, Robin Hood in 1985, and The Mark of Zorro from 1986 to the present, except once. Still, I’m partial to it, not only because it was the first version I saw, but because it’s really hard to explain Robin’s nickname and costume any other way. Well, maybe Dick Grayson was the one who liked that movie while Batman was influenced more by Zorro. That would really make more sense, wouldn’t it?
So the moral of the story for film and TV producers is, when adapting a story, make sure to double-check the details. And the moral for comics and prose writers is, when naming a pivotal location in your story, avoid metaphorical names that film and TV producers might end up taking literally. We’re lucky we didn’t end up with a supercut of scenes where the Waynes are murdered while going bowling.