Catwoman’s Purrfectly Imperfect Legacy: Looking Back at Halle Berry’s Feline Fiasco
Twenty years have passed since Halle Berry donned the iconic Catwoman suit, and despite its initial reception, the film has sparked a surprising reappraisal. Entertainment Weekly’s recent oral history delves into the troubled production of the film, highlighting the creative clashes, studio interference, and ultimately, the unlikely critical comeback. While critics initially panned the film, it has gained a cult following and now seems to be finding its place in the pantheon of "so bad it’s good" cinematic experiences.
The article paints a colorful picture of the behind-the-scenes chaos, with anecdotes revealing the numerous rewrites, conflicting visions, and an overall "punch-drunk" atmosphere. The studio, specifically Jeff Robinov, who was the motion picture head at Warner Bros. at the time, heavily shaped the film’s narrative. He famously insisted on removing rats from the storyline (despite a plague-infected face cream being a key plot point) and stripping the film of much of its depth.
This led to a frustrating cycle for screenwriters John Brancato and Michael Ferris, who were fired from the project "twice" before Ed Solomon, co-creator of the iconic "Bill & Ted" franchise, was brought in for extensive rewrites.
"They’d been through so many writers and versions. There was exhaustion at the studio. You get punch-drunk. We’d come up with ideas, and they’d say, ‘No, we tried that in drafts 7 and 11.’ Well, what can we do? It was an odd process. Trying to make something that had some integrity that made sense finally seemed impossible," Brancato reveals.
Despite the tumultuous production, Halle Berry remains incredibly positive about her experience, crediting the role with transforming her into a real-life cat person. "I became a cat lover because of it," she shared, "I rescued four kitties I found in my yard three weeks ago."
The commitment to embodying her feline character extended far beyond the set. Warner Bros. gifted Berry a cat named Playdough to study and learn from, and she became immersed in feline behavior. "I’d crawl around my house, trying to jump on my counters, thinking, If I were a cat, how would I get up there? I was in it 24/7," Berry confesses.
This intense dedication to her role is reflected in the positive reception her portrayal has received from Lili Simmons and Camren Bicondovca, who played Catwoman in the television series "Gotham." Both actresses praise Berry’s performance, highlighting her "fluidity in movement," "effortless sexiness," "power," and "groundedness."
"Halle’s performance is iconic," Simmons states, "When you think of Catwoman, you think of her." Bicondovca echoes this sentiment, "Halle inspired me as an actress throughout those five years [on Gotham] and still does! Halle is a powerhouse with crazy athleticism, versatility, and depth."
Their praise is significant considering that Halle Berry’s Catwoman rarely receives recognition within a list of memorable portrayals, which typically includes Julie Newmar, Michelle Pfeiffer, and Eartha Kitt.
The article further examines the film’s controversial costume, a minimalist design that departed from the traditional, more covered-up catsuit aesthetic. Producer Denise Di Novi explains, "A catsuit, by definition, everything is covered up. We thought it’d be cool to be more rock n’ roll and bare."
Berry agrees, "It was something different, but in our minds, why keep remaking Catwoman if you’re not going to take risks and bring something different to it?"
The article concludes with a reflection on the film’s legacy and whether it finally deserves its due, or if it truly earned the Razzie Award, which Berry notoriously accepted in person.
"You can never take away my Oscar, no matter how bad you bash me!" Berry proclaimed at the time. "If you say I earned it, I’ll take this, too."
The "Catwoman" saga serves as a fascinating case study in the challenges of bringing iconic characters to life. While the film has its flaws, it remains a unique and entertaining experience, offering valuable insights into the behind-the-scenes complexities of film production and the ever-shifting landscape of cinematic appreciation.
Ultimately, the article leaves us with a question: Will "Catwoman" ever be truly appreciated for its flaws and its unique vision? Or will it remain forever trapped in the shadow of its Razzie Award, a misunderstood gem that is only now, perhaps, beginning to be fully understood?
