Now don't throw-up. I saw The Dark Knight this week and it was a great show. I couldn't help but draw some parallels to Bush in the movie, and it appears that I am not the only one. In the movie the people start ragging on Batman as a menace rather than a hero. They complain about how he protects them and even begin to vilify him. The Joker challenges Batman with regards to the "rules" of engagement that he follows vs. how criminals and terrorists have NO rules, therefore they win. The conflict arises on how to restore order to a chaos and crime ridden city. Batman decides to tap into all cell phones in the city to combat a ruthless terrorist criminal with no conscience or purpose, other than to murder, to beat him at his own game. Morgan Freeman challenges Batman on this approach and sees in the end that it was necessary to beat an otherwise deadly outcome. The question is asked whether you would be willing to make choices where you and you alone are responsible for the outcome...I dare say no. The American citizen much prefers to relax and criticize after the fact, and oh so arrogantly at that. Here we are worshipping a Presidential candidate who has done virtually nothing to deserve the accolades that he receives and we can't even thank the current President for the job he has done keeping us safe from an enemy who wants to kill just to kill and destroy. If you think Obama is the answer to your gas prices going down then you are in a delusional world with the rest of the Obamakins. I am not the only one who drew such parallels in the movie. Andrew Klavan of the Wall Street Journal had the same experience. Here is his article in its entirety and a link if you prefer...What Bush and Batman have in Common ...I enjoyed the movie A LOT and have no clout in saying that it is awesome. America is seeing this movie as it is breaking all kinds of records.
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.