What Bush and Batman Have in Common
By ANDREW KLAVAN
July 25, 2008; Page A15
A cry for help goes out from a city beleaguered by
violence and fear: A beam of light flashed into the night sky, the dark
symbol of a bat projected onto the surface of the racing clouds . . .
Oh, wait a minute. That's not a bat, actually. In
fact, when you trace the outline with your finger, it looks kind of
like . . . a "W."
There seems to me no question that the Batman film
"The Dark Knight," currently breaking every box office record in
history, is at some level a paean of praise to the fortitude and moral
courage that has been shown by George W. Bush in this time of terror
and war. Like W, Batman is vilified and despised for confronting
terrorists in the only terms they understand. Like W, Batman sometimes
has to push the boundaries of civil rights to deal with an emergency,
certain that he will re-establish those boundaries when the emergency
is past.
And like W, Batman understands that there is no moral
equivalence between a free society -- in which people sometimes make
the wrong choices -- and a criminal sect bent on destruction. The
former must be cherished even in its moments of folly; the latter must
be hounded to the gates of Hell.
"The Dark Knight," then, is a conservative movie about
the war on terror. And like another such film, last year's "300," "The
Dark Knight" is making a fortune depicting the values and necessities
that the Bush administration cannot seem to articulate for beans.
Conversely, time after time, left-wing films about the
war on terror -- films like "In The Valley of Elah," "Rendition" and
"Redacted" -- which preach moral equivalence and advocate surrender,
that disrespect the military and their mission, that seem unable to
distinguish the difference between America and Islamo-fascism, have
bombed more spectacularly than Operation Shock and Awe.
Why is it then that left-wingers feel free to make
their films direct and realistic, whereas Hollywood conservatives have
to put on a mask in order to speak what they know to be the truth? Why
is it, indeed, that the conservative values that power our defense --
values like morality, faith, self-sacrifice and the nobility of
fighting for the right -- only appear in fantasy or comic-inspired
films like "300," "Lord of the Rings," "Narnia," "Spiderman 3" and now
"The Dark Knight"?
The moment filmmakers take on the problem of Islamic
terrorism in realistic films, suddenly those values vanish. The good
guys become indistinguishable from the bad guys, and we end up
denigrating the very heroes who defend us. Why should this be?
The answers to these questions seem to me to be
embedded in the story of "The Dark Knight" itself: Doing what's right
is hard, and speaking the truth is dangerous. Many have been abhorred
for it, some killed, one crucified.
Leftists frequently complain that right-wing morality
is simplistic. Morality is relative, they say; nuanced, complex.
They're wrong, of course, even on their own terms.
Left and right, all Americans know that freedom is
better than slavery, that love is better than hate, kindness better
than cruelty, tolerance better than bigotry. We don't always know how
we know these things, and yet mysteriously we know them nonetheless.
The true complexity arises when we must defend these
values in a world that does not universally embrace them -- when we
reach the place where we must be intolerant in order to defend
tolerance, or unkind in order to defend kindness, or hateful in order
to defend what we love.
When heroes arise who take those difficult duties on
themselves, it is tempting for the rest of us to turn our backs on
them, to vilify them in order to protect our own appearance of
righteousness. We prosecute and execrate the violent soldier or the
cruel interrogator in order to parade ourselves as paragons of the
peaceful values they preserve. As Gary Oldman's Commissioner Gordon
says of the hated and hunted Batman, "He has to run away -- because we
have to chase him."
That's real moral complexity. And when our artistic
community is ready to show that sometimes men must kill in order to
preserve life; that sometimes they must violate their values in order
to maintain those values; and that while movie stars may strut in the
bright light of our adulation for pretending to be heroes, true heroes
often must slink in the shadows, slump-shouldered and despised -- then
and only then will we be able to pay President Bush his due and make
good and true films about the war on terror.
Perhaps that's when Hollywood conservatives will be able to take off their masks and speak plainly in the light of day.
Mr. Klavan has won two Edgar Awards from the
Mystery Writers of America. His new novel, "Empire of Lies" (An Otto
Penzler Book, Harcourt), is about an ordinary man confronting the war
on terror.