We sensed it the first time we watched The Dark Knight last Saturday and tonight, as we watched it for a second time, the idea began to crystallize. There are distinct parallels between The Dark Knight, President Bush, and The War On Terror.
On the drive home we began to plan out exactly how we would write the post. And then we did our usual ante-sleep news review–Drudge, WSJ, various sports pages–and came across this op-ed by Andrew Klavan, writing in the Wall Street Journal.
We agree with most everything he writes, except for a a few of his characterizations in the concluding 3 or 4 graphs. The entire thing is worth reading, here is a sample:
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.
Good on Christopher Nolan for co-writing and directing a powerfully good movie that explores the complexities of right and wrong while always knowing, in the end, what is right and what is wrong.
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