The thing about Batman is that the mood of the series has probably changed more than any comic ever published, so discussing whether or not Burton's films were "accurate" really depends on what particular era we're looking at.
When originally introduced in the late 1930s, Batman was very much a vigilante, in the same vein as the Shadow or Doc Savage. He was ocassionally brutal, would sometimes carry a gun (although this didn't really happen that often, despite some revisionist claims to the contrary), and didn't have the chummy relationship with law enforcement he would later have.
But this style very quickly began to evolve. Within two years or so, much of these early dark elements had given way to a lighter tone. A lot of Batman's rogues gallery really came into their own during this time, which accounts for a lot of the goofier of the bunch. Robin made his debut, and Batman became less of the shadowy vigilante, and more of a sort of friendly civic guardian. This was certainly much lighter than before, but we're not talking the sheer camp that the character would descend into in later years.
In the 1950s, as increasing public scrutiny came to bear on comics, the series increasingly turned away from whatever realism remained with it. Several stories took place in outer space, and it's here that we really begin see the roots of the campiness that defined the 1960s TV show begin to emerge. In the late-1950s and early-1960s, there was an abortive attempt to reinject some sense of seriousness to the title in the face of flagging sales. This was more of a return to the 1940s sensibilities than the 1930s (i.e., Batman himself was still a basically lighthearted figure, but the threats began to come back down to earth, both figuratively and literally), and it didn't really manage to take full effect: before long, the TV show premiered, and the comic was basically retooled to reflect the campiness of the show.
The TV show era did have some lasting effect, though. It reintroduced a lot of older villains and supporting cast members (in particular figures like Alfred the butler and the Riddler), as well as introducing for the first time characters like Batgirl. But after the TV show ended, sales figures began to sink again very quickly, and the books found themselves in the hands of writers like Denny O'Neil, who made probably the most distinct break from the past since the early 1940s.
O'Neil's Batman began to take on a much, much darker tone. While Batman himself was still basically a dependable, stable guy, more focus was placed on his personal trauma and the horrors of the situations his faced. There was a deliberate return to a sort of film noir style, and the threats became less and less outrageous. Even the garish supervillains of before began to take on a darker hue, and the stories in general began to take on the sort of twisted feeling that would come into fruition later on. The emphasis during this period was on Batman the detective, rather than Batman the superhero, and therefore things began to take on a more human perspective.
This continued up through the mid-1980s, when Frank Miller basically completely reinvented the character in his "Dark Knight Returns" miniseries. This series, ironically, was set outside of normal Batman continuity, and remains there today, but its mood and style sent shockwaves through the regular ongoing series. Though Miller claimed he was going back to the origins of the character, I personally am not convinced that's really true: the DKR Batman seems very much something new and different. It's a logical progression of O'Neil's 1970s Batman, and the mood is, if anything, darker and more twisted, but Miller's unique contribution is his focus on Batman's own mental state. Batman, here, is not really the responsible hero he's always been previously. At best, his mental state is unreliable, and at worst he's as nutty as most of his foes. He's a man driven to extremes, who will, if necessary, operate outside the law.
This interpretation of the character was made canon through the late 1980s, and, as a result, numerous elements of the mythos began to take a back seat. Robin was increasingly removed from events, and, through the late 1980s and early 1990s, Robin was basically entirely absent. Also, and perhaps a little ironically, O'Neil's emphasis on the detective aspects of the story began to slip away: this Batman had neither the temperament, or, really, the need to resort to the sort of detective work he had previously taken to. This was the root of what later became referred to disdainfully as the "Bat-God": an unstoppable force-of-nature with no real grounding in the real world. Lots of other changes to the overall mythos, too: several 1930s and 1940s villains returned, departing from the campy elements that had lingered from the 1950s and 1960s, and changes in backstory which served to seperate Batman from other elements in DC Comic's ongoing mythology. Batman himself was reduced to the status of urban legend which not many people seriously believed in (which was an improbable twist, and still doesn't really seem to hold up to any kind of serious scrutiny).
Tim Burton's films were drawn from this stock, though they did make some changes to the formula, at times almost coming out as parody of the source material (particularly in Batman Returns, which took the elements of psychodrama to levels which the comics couldn't match even at the height of this period). Similarly, while the mood was analogous, the storyline was radically altered, particularly with regards to the backstory of the villains (in the comics, the Joker has no connection to Batman's origins, the Penguin is more of a Godfather-style crime lord, and one of Batman's few sane and mentally stable adversaries, etc.). The 1990s animated series actually comes closer to approximating the feel of the comics from this period, and showcases the best elements of the approach, while the movies, while I do enjoy them, kind of show it's worst extremes.
That's basically where things stand today, although things have changed subtly in recent years. The overall outline of the Frank Miller approach (the moral ambiguity, the shades of gray, etc.) remains, but to a lessened degree: Batman has come out of his shell to an extent, and the sort of darkness that typified the comic in the early 1990s, while still present, has increasingly been matched by a more human Batman who may still be haunted by his own demons, but isn't necessarily victimized by them as he once was.
"I have walked in Eternity -- and Eternity weeps."
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