Perhaps
no movie series has embodied the country’s anxieties and concerns about the
post-9/11 world as much as Christopher Nolan’s Batman films, “Batman Begins”
(2005) and “The Dark Knight (2008).” With the final installment of the trilogy,
“The Dark Knight Rises,” premiering this weekend, I watched the first two
movies again. The common theme running throughout
both is the continuing challenge of maintaining our values while fighting a war
on terror against enemies who don’t follow any rules.
Clearly
influenced by Frank Miller’s “Dark Knight” comics of the 1980s, “Batman Begins”
depicts a darker caped crusader than seen in either the Joel Schumacher films
of the 1990s or the Tim Burton films of the late 80s. As Bruce Wayne/Batman (Christian Bale)
completes his training with Ra’s Al Gul/Henri Ducard (Liam Neeson) in “Begins,”
his mentor demands he execute a prisoner.
Wayne refuses, saying he should be tried in a court. When Ra’s responds that “Your compassion is a weakness your enemies
will not share.” Wayne retorts, “That’s
why it’s so important. It separates us from them.” Hard to imagine a more succinct summary of
the critique of the Bush/Cheney war on terror.
While Batman largely fights mobsters and drug dealers in “Begins,” he
must also fend off the League of Shadows’ plan to destroy Gotham by spreading
an aerosol that will turn everyone insane, spawning massive chaos. Though Jack Nicholson’s Joker plans a similar
attack to poison the water in Burton’s “Batman” (1989), it came across as much
more silly and comical than Ra’s Al Gul’s machinations in “Begins.” To stop the attack, Batman must prevent a
subway train from hitting Wayne Towers at the end of the film. While watching the movie during its initial theatrical
release in 2005, I instinctively thought of the scene as an allegory for a
plane flying into the World Trade Center.
Furthermore, Ra’s bizarre belief that the League of Shadows must destroy
corrupt civilizations seemed similar to the anti-Western ideology of Islamic
radicals.
Nolan and the writers make the connection between the war on terror much
more explicit in “Dark Knight.” After
Batman puts a lock on the money supply of organized crime, the mob turns to the
Joker (Heath Ledger) to stop him. While
Nicholson’s Joker is a mob enforcer who goes insane after Batman drops him in a
vat of chemicals, Ledger’s is a pure psychopath with no known origins. He serves as a stand in for Osama Bin Laden,
willing to attack any individual or institution, including judges, police
commissioners, and even hospitals. The
Joker’s behavior is similar to the strategy of the insurgents in Iraq, who
routinely killed such officials during the worst years of the war. Indeed, the Gotham City in “Dark Knight” resembles
the pre-surge Baghdad of 2006-07. Though
Wayne believes he must understand the Joker’s motivation, Alfred (Michael
Caine) warns him that “Some men just want to
watch the world burn.” If the Joker has
any concrete goal, it is turn the city against itself.
Batman,
Commissioner Gordon, and District Attorney Harvey Dent debate how to respond to
the Joker, who calls himself an ”agent of chaos.” When Batman tries to pump a leading mobster
for information, he tells Batman that no one is going to betray the Joker for
him because the caped crusader still has “rules” while the Joker has none. Indeed, the Joker tries to provoke Batman to
break his only rule and kill him in cold blood.
After an attempt on the mayor of Gotham’s life, Dent kidnaps one of the
Joker’s minions and threatens him in order to obtain information, at the same
time the nation was debating the merits of the Bush/Cheney policies regarding
Guantanamo Bay and enhanced interrogation techniques. Batman tells him Dent can’t behave this way
because he must remain the symbol of hope for Gotham.
Wayne himself
creates a massive private surveillance system to spy on Gotham’s citizenry in
order to find the Joker. Upon
discovering the program, Wayne Enterprise CEO Lucius Fox (Morgan Freeman) tells
him it is “unethical” and “dangerous,”
but will operate it once to find the Joker and then resign from Wayne
Enterprises should it remains in use.
The debate between Wayne and Fox is clearly a commentary on the Bush
administration’s warrantless eavesdropping program and its expansion of
government power during the post 9/11 years.
Once Fox uses the system to help Batman capture the Joker, he enters his
name into the computer as instructed by Wayne.
It then self-destructs. “The Dark
Knight’s” message seems to be that extra steps may be necessary to defeat
terrorism in the short-term, but should not become permanent. Of course, civil libertarians have been
disturbed by many of the new measures enacted since 9/11 because unlike
previous conflicts with nation-states, there will be no definitive end to a war against stateless terrorist groups . Despite the election of
Barack Obama and the death of Bin Laden, many of the new powers seem likely to
remain in place for the foreseeable future.
In the
end, Batman captures the Joker without killing him, maintaining his code. After he is maimed and his girlfriend is
killed during one of the Joker’s attacks, though, Harvey Dent goes insane and
becomes villain Two-Face. Far more
menacing than Tommy Lee Jones’ portrayal of the same character in “Batman
Forever” (1995), he blames Gordon and Batman. Dent/Two-Face kidnaps and threatens Gordon’s
family, barking at Batman, “you thought we could be decent men in a indecent
time,” a clear reference to the dilemmas posed by Bin Laden and Al-Qaeda. Though he stops Dent, Batman takes the blame
for Two-Face’s killing spree as the movie ends, in order to prevent Gotham from
losing hope.
Both
“Batman Begins” and “The Dark Knight” are excellent movies and among the best
comic book films ever. From the
previews, it appears that the final film will offer more commentary on the war
on terror. Moreover, “The Dark Knight
Rises” seems likely to reflect on the Great Recession as well, which had just
begun when the last film arrived in theaters. I’ll report back next week after seeing the
final chapter.
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