Daniel Lindvall, the editor in chief of the distinguished journal Film International, has just written a brilliant essay on the new Batman film, which deftly summarizes the elitist concerns of the film, and Nolan’s work on the series as a whole.
As Lindvall writes, in part, “without the help of a time machine, watching the The Dark Knight Rises on a big screen will probably remain the closest I’ll ever get to what experiencing a Wagnerian propaganda spectacle in 1930’s Berlin must have felt like. It is not just the celebration of the übermensch in shiny black body armour, the fetishization of his equally shiny black military vehicles and war equipment, nor even the literal horde of police in dark uniforms – a police force now collectively redeemed, cleansed of all corruption – that fight by the hero’s side in the final battle of Christopher Nolan’s Batman saga. And it isn’t just the utter contempt that all of Nolan’s Batman films have for anyone looking like they may not be able to afford a home on Gotham City’s equivalent of Manhattan’s Upper West Side – police, loyal servants and orphans excepted.
Here ‘the 99 per cent’ figure only as easy-to-manipulate potential recruits to a violent mob led by psychopaths. And it isn’t, in itself, the demonization of Asia as the home of coldly inhuman intelligence and cruelty. Or that evil is so often connected to physical deformity. Hero worship, gun fetishism, glorification of the armed forces of the state, racism – none of this is new to the genre. But in this ultimate instalment, Nolan’s Batman trilogy combines it all into a story that reaches the deepest recesses of the bourgeois soul and unquestioningly celebrates the authoritarian darkness it finds there.
Bruce Wayne/Batman (Christian Bale) is not just your ordinary superhero or vigilante. Even if the films make much of his tragically (self-)imposed social isolation this does not make him an outsider or an outcast. His place is above, not outside of, society. He is no bullied loner accidentally gaining super powers, like Peter Parker/Spider-Man, and he’s no rebellious cop, like Dirty Harry Callahan.
Bruce Wayne’s powers rest ultimately on material wealth, and not just any wealth, but control over an inherited corporate empire whose main source of profit comes from the arms trade. Batman’s moral code may forbid him the use of deadly violence, but it doesn’t forbid him making a luxury living out of peddling weapons to Pentagon, including, for instance, a machine capable of vaporizing the enemy’s water supplies, intended for use in desert wars. One wonders which desert wars?
The rather worn-out question explicitly posed throughout the trilogy – whether or not it is right to take the law into your own hands – is therefore really the question about the relation between capital and the state, the arms industry and the public armed forces. Batman is a contemporary saga about the shadowy world of post-9/11 ‘security’ arrangements operating under the jurisdiction of anti-democratic ‘anti-terror’ laws and supra-legal authority in a world where the borders between the state and private corporations are increasingly permeable, whilst power escapes ever further away from the influence and scrutiny of ordinary citizens.
Of course, the Batman films never seriously questioned this form of authority in any way other than purely rhetorically. Anyone in the Gotham City universe that criticizes Batman is always portrayed as silly, ineffective, corrupt or crooked. However, if there was ever any doubt at all, The Dark Knight Rises does away with it spectacularly as the city, in an unusually distasteful scene even for this film, erects a statue of its hero pictured as a sternly watchful warrior saint.”