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"If Grissom knew about us, he might hand you something."
―Alicia Hunt to Jack Napier[src]

Alicia Hunt was crime boss Carl Grissom's mistress and paramour to his top enforcer, Jack Napier.

Biography[]

Batman[]

Modeling[]

Alicia seems to be a fairly well known figure in high fashion culture, having appeared on the cover of Vogue magazine, and various modelling pictures adorned her lavish apartment. She cheated on Carl Grissom with his enforcer, Jack Napier. After Grissom learned that Jack had an affair with Alicia behind his back, he sent his right-hand man on a mission that had been set up to have him killed by Lt. Max Eckhardt. Napier survived, but fell into a vat of chemicals that drastically mutated his cell structure, and freed him to become as monstrous as he desired.

After Jack had reinvented himself as "The Joker", he killed Grissom in retaliation and took over his empire. When Alicia returned and saw Jack's clown-like appearance, she fainted.

Disfigurement[]

The Joker then scarred Alicia's face with sulfuric acid, and made her wear a porcelain mask. When she went with Joker to the Flugelheim Museum, she was asked to remove her mask in front of photojournalist Vicki Vale to show herself off as his latest "masterpiece." The sight of Alicia's scarred face was too much for Vicki, and she jumped out of her seat, terrified.

Days later, Joker presented Alicia's now cracked mask to Vicki at her apartment, claiming that Alicia had thrown herself out a window. Despite this, Joker showed no remorse, breaking the mask and saying "You can't make an omelet without breaking some eggs". It is believed that the Joker killed her because he wanted a new girlfriend and pursue Vale.

Batman '89: Echoes[]

One account claims that Alicia did not die, with her receiving treatment to help recover from her abuse by Napier. According to an executive at ACN, Alicia had been interviewed by Dr. Harleen Quinzel on live about her relationship with the Joker. The interview received high publicity and controversy for Quinzel's questions revolving about intermate details surrounding the Joker. During a later TV program, Alicia unmasked herself to reveal she'd had her scarred face healed through plastic surgery.

Characterization[]

Appearance[]

Alicia was an extremely beautiful, tall and elegant high-class fashion model, and as a glamorous fashionista was never dressed in anything less than the most expensive clothes. Sadly, one side of her beautiful blonde and blue-eyed facial features were scarred after the Joker had thrown acid at her in order to turn her into a 'living work of art', prompting her to conceal her face for the rest of her short life behind a porcelain mask.

Personality[]

Alicia

Alicia was an extremely vain young woman whose lavish apartment was adorned with several self-portraits, and she could often be spotted with several shopping bags from various high-class boutiques. Admittedly, Alicia's beautiful looks were fundamental to her successful career as a fashion model, and her face appeared on the cover of Vogue Magazine. Alicia may have committed suicide because she was so traumatized by the scarring the Joker had caused to one side of her once-beautiful face.

While Alicia felt no remorse about being an ally of murderous gangsters, she did have a tender side. She truly loved Jack and warned him to be careful to never let Grissom learn of their infidelity, because then he would have Jack assassinated out of jealousy. She was impressed by the fact that Jack never worried about this.

The novelization reveals that both Alicia and the Joker were skilled at vocal impersonations. The Joker hatched a plan to get Bruce Wayne and Vicki Vale together at the Flugelheim Museum, at which point the Joker and his gang would arrive, kill Bruce, and kidnap Vicki. First the Joker, imitating Bruce's voice, called Vicki and invited her to lunch at Flugelheim's café; then Alicia, pretending to be Vicki, called Alfred and told him she had accepted Bruce's invitation. Unfortunately for the Joker, Bruce remembered that he did not have a lunch date that day, and so showed up at the museum as Batman rather than himself.

Behind the Scenes[]

  • It's possible that Joker had thrown Alicia out the window because of his remark before he smashed her mask and laughed.
  • It was not clear how the Joker made Alicia so subservient, and seemingly slow-witted, after her acid scarring. The acid may have caused partial brain damage, or she may have only feigned subservience out of fear of more attacks from the Joker.
  • Alicia could also been a very loose inspiration for the character of Harley Quinn from Batman: The Animated Series; both women were lovers of the Joker, stood by his side (despite being treated dismissively by him) and had blonde hair. Even Alicia's disfigurement and make-up resembled Harley's make-up.
  • Patsy Kensit was at one stage scheduled to play that role, but it was thought that the age difference between her and Jack Nicholson was too great. Instead, Warner Brothers cast her in Lethal Weapon 2. The part of Alicia was given to Jerry Hall, who was spotted by a Batman crew member at Pinewood Studios during one of her breaks from filming a chocolate commercial.
  • Alicia was based on the character of Circe (the original Black Mask's ex-girlfriend and henchwoman). Black Mask also targeted Circe and forcibly disfigured her with the chemicals in order to force her to reunite with him. Circe ultimately killed herself, which led Black Mask to replace her with a mannequin that he talked to as if it were a real person.
  • Writer Sam Hamm based Alicia's mask after the one worn by the disfigured character Christiane from the horror movie Eyes Without a Face.[1]
  • In the MAD Magazine parody of the film, Alicia's name was not spoofed (unlike "Bats-Man" and "The Jerker"). Alicia told "Jerker" that she was leaving him for disfiguring her. When Joker wondered who would want her now, he was surprised when Alicia introduced him to her new boyfriend — who happened to be the Phantom of the Opera.

Gallery[]

Screen Captures[]

Production Photos[]

Promotional portraits[]


References[]

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