The Politics of the Dark Knight Rises

 In Film & TV, Influence, Pop Culture
This entry is part 3 of 8 in the series The Dark Knight Rises

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“You think this is part of some revolution?” — Jim Gordon

Bane reveals the truth about Dent to fracture Gotham's power structure.

Bane reveals the truth about Dent
to fracture Gotham’s power structure.

One major criticism of The Dark Knight Rises is the film’s perceived stance on politics. Specifically, despite repeated denials by director Christopher Nolan and writer David Goyer that the film is not an intentional commentary on on the Occupy movement, people as notable as Glenn Beck are praising the film (or critcizing it) for how it “confirms a conservative worldview.”

Anyone who thinks The Dark Knight Rises affirms the power of the wealthy needs to watch the film more closely. This film is a clear critique of the danger of power, and how to wield it properly.

The Dark Knight Rises critiques both the 99%’s desire for power and the way the 1% wield it.
Bane: the hero of the 99%... or is he?

Bane: the hero of the 99%… or is he?

The confusion stems from misunderstanding Bane’s motivation. Bane makes it clear that he is going to finish what Ras a Guhl started in Batman Begins: namely, the destruction of Gotham. But when Bane drops Bruce in prison, we learn that destruction isn’t enough for Bane. Gotham must despair. As he elaborates:

“There can be no true despair without hope… I will let them believe they can survive so you can watch them clambering over each other to stay in the sun.” — Bane

We must interpret everything else Bane does in the film through this lens: the point is to provide false hope.

The most potent source of false hope is power: the conviction that we can save ourselves.

Bane manipulates the power structure of Gotham so that every citizen will strive for power, for control over Gotham. Ultimately, Nolan uses Bane to critique our lust for power, and the illusion that we can use it to save ourselves.

Wanting Power is Dangerous

The film’s critique of our lust for power is most obvious, and is what has led to accusations that the film is pro-1% or conservative. When Bane takes over Gotham, cutting it off from from the rest of the world, he tells “the people” that Gotham is theirs, that they can do whatever they want and no one will stop them. At the time, he’s addressing citizens outside Blackgate prison and the inmates inside.

Ironically, Bane's Army isn't Gotham's 99%. It's criminals led by the League of Shadows.

Ironically, Bane’s Army isn’t Gotham’s 99%.
It’s criminals led by the League of Shadows.

Bane clearly and intentionally targeted those in Gotham most hurt by the current system. He offered them power, recruited them for his army. Though the film doesn’t explore this nearly as much as I’d have liked, the implication is that Bane establishes an alternative government ostensibly of, by and for the people of Gotham. It has a kangaroo court, and Bane’s army functions as the police force (though their main function seems to be preventing the old system from interfering with the new).

The relative chaos that characterizes Bane’s new world order represents the injustice that usually follows the fall of any regime.

It’s often the case that no matter how oppressive a fallen regime may have been, those who replace them – usually representatives of whomever led the coup – turn out to be just as corrupt and unjust as the leaders they replaced. It’s no wonder Aristotle claimed that “Absolute power corrupts absolutely”.

Keeping Power is Dangerous

While Nolan’s critique of those on bottom is clear enough, no one seems to be picking up on his critique of the powerful. Early in the film, we meet Dagget, a wealthy CEO Bruce Wayne-foil who wants to take over Wayne Enterprises. Miranda Tate summarizes his character nicely when she tells him

“You only understand money and the power you think it buys.”
Miranda Tate Talia al Guhl to Dagget

Dagget comes face-to-face with a pure evil his money can't stop.

Dagget comes face-to-face with
a pure evil his money can’t stop.

Turns out Dagget has hired Bane to help him take over Wayne Enterprises. It’s Dagget who hires Selina Kyle to steal Bruce’s fingerprints, which Bane will then use to bankrupt him. Dagget sees himself as the man with the plan, one in charge. But when his plans fall apart, Dagget finds himself cowering under Bane, who asks him:

“Do you feel in charge?” — Bane
I’ve paid you a small fortune. — Dagget
“And this gives you power over me?” — Bane

It’s in these moments that Dagget realizes his sense of control was a total illusion. He understands that, far from running the show, he’s a small act, a single cog in Bane’s engine of destruction.  His money is nothing in the face of “pure evil” – what he names Bane in his final moments.

The message couldn’t be clearer: no matter what you think, money does not equal power. Money can’t save us.

Even more damning, however, is the film’s demonstration of the fundamental insufficiency of human power structures (such as government and police).  After Bane attacks Gotham, the President effectively abandons the city.

Commissioner Gordon and John Blake are the lens through which we see much of Bane’s new world order. These are two men who’ve dedicated their lives to serving within the institutional structures. Gordon knows how weak they can be – he lived in a Gotham cowed by the mob and sustained by a lie.

What do you mean his first name's not John?

What do you mean his first name’s not John?

When Blake confronts him about the Dent cover-up, Gordon warns that we can’t put our trust in rules and laws to save us:

“The structures fail you and the rules aren’t weapons anymore; they become shackles that let the bad guy get ahead.” — Jim Gordon

Blake learns this for himself when he tries to get his kids (and many more Gothamites) across the single remaining bridge out of Gotham. Rather than letting them cross, and with just minutes left before the bomb goes off, the police choose to follow their orders and blow the bridge rather than let Blake and his Exodus across. Furious, Blake berates them:

“You killed us just following your orders.” — Blake

By using Gordon and Blake, the film walks the fine line of affirming the basic good that human structures give us while also recognizing their limitations.
Two of the best parts of an outstanding film.

Two of the best parts of an outstanding film.

Some sort of political and social structure is inevitable and good. These systems provide some basic social stability and justice. Commissioner Gordon is one of the best people in Gotham, and he chooses to work mostly within the system.

But the film also acknowledges that these systems easily become corrupt, and even at their best aren’t capable of dealing with true evil. Blake recognizes this and abandons the police force, taking up the mantle of Batman to be that symbol of Good that works outside the system as a check to hold the system accountable to itself.

No matter which side of Gotham you connected with – Bane’s faux-99% revolution that wanted power or the Daggets and Gordons who wielded power, The Dark Knight Rises warns that power won’t save you.

Power is only good when you give it away

I don't know if this poster is official or a fan poster. Either way, it rules.

I don’t know if this poster is official or a fan poster. Either way, it rules.

Bruce Wayne and Selina Kyle model good uses of power in the film. They’re from opposite sides of the fence – Bruce is a 1%-er and Selina welcomes the coming Proletariat revolt… until it happens. Bruce and Selina come together and use their power not to save themselves, but for the good of Gotham.

This is the use of power Jesus models in the Scriptures. He warns

“You know that the rulers in this world lord it over their people, and officials flaunt their authority over those under them. But among you it will be different. Whoever wants to be a leader among you must be your servant, and whoever wants to be first among you must be the slave of everyone else. For even the Son of Man came not to be served but to serve others and to give his life as a ransom for many.” — Mark 10:42-45 (NLT)

Bruce is the anti-Dagget; Selina is the anti-Bane. Rather than trying to acquire power for themselves, they give their power freely. This is why Bruce is a Christ figure and Selina the Bride of Christ figure. Both give up their lives for the good of Gotham (when Selina chooses to stay in Gotham, she’s sure it means death).

Bottom Line: The Dark Knight Rises critiques the lust for power, no matter who has it. The film calls us to use whatever power we have for the good of others.

YOUR TURN: What did you think of the film’s political message? Do you agree with my interpretation?
Series Navigation<< Bruce Wayne’s Dark Night of the Soul<< Is Catwoman the Bride of Christ?How Did Blake Know Bruce Wayne is Batman? >>
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  • adriano

    seriously that is a lot of reading into a movie that didn’t put that at the time of execution.
    Anyone can add later readings, but these ones are simply not there at all. These are comfortable ‘I like Batman movies’ thing to adapt an overall shallow movie ( as opposite to its previous movies ) into your personal politics.

    You are simply adding readings that, i guess comfort you over things that did not, but overall don’t make any sense or stand to any sort of scrutinity.
    Please do grow up

    Sorry Chris Nolan disappointed you, the movie simply sucks

  • Hi Adriano,

    It’s clear that you didn’t enjoy TDKR nearly as much as I did. Your comments come across as very hostile. Are you interested in actual dialogue about the film, or are you just flaming posts that you don’t like?

    If you’d actually like to discuss the film, please outline some specific points I made that you don’t feel were actually in the film – avoid blanket statements.

    Otherwise, I don’t see the need for you to comment here. Thanks.

  • cinemalacrum

    Jr, I thoroughly enjoyed your reading of this film and find your arguments about power quite grounded and justified within the film, however, I am not entirely sure we should give Nolan a pass on some of the more conservative elements that seem to be spouted throughout the film, even if the narrative undermines them and Nolan denies them. Let’s not forget that Wayne’s “death” is really more of an escape to Paris, because he can afford to do so, something the various civilians of Gotham City cannot do in a very literal sense, for a larger portion of the narrative, but certainly for a metaphorical sense as well. I do not mean to deny your arguments, because they certainly read the film beautifully, I was just considering this problem into how we look at the city and its revolution, or as what seems to be described as an Occupy Gotham City set of images.

    On a side note, I would love to hear your thoughts on how the prison within the film factors into the rhetoric of power and oppression, as its means of maintaining prisoner suppression is inherently different from the panoptic assumed gaze of the traditional penitentiary set-up. This of course is a bit different from your overall topic, but something I think is, nonetheless, pertinent.

  • cinemalacrum First of all, you win for best comment of all time.

    I’d agree with you, but that’s also inherent in Batman as a character. Unless Nolan had totally reimagined Bruce Wayne as a person who didn’t come from privilege, I don’t know how he could’ve gotten around Wayne’s inherent privilege. That’s why I’m happy to give him a pass, as you say. Thoughts?

    As for the prison, I love it. The whole idea that you punish by allowing prisoners to wallow in despair. Of course the prison really only works at the level of metaphor (which I’m fine with, and is just like a panopticon in that regard). Since I tend to write from a religious perspective, I appreciate the whole cage-of-your-own-making angle, the impossibility of redemption and all that went into the “Lazarus Pit” of Bane’s prison. What about you?

  • Cinemalacrum

    I tend to approach things from a social theory element, so I would not have looked towards the religious allegory in terms of the prison, although I certainly find that a valid interpretation, especially considering that Wayne is paralyzed (dead) and arises, of course providing the films title. In this context though who plays the Christ figure to Wayne’s Lazarus? Ra’s Al Ghul or some larger collective force, perhaps the people of Gotham?

  • Ricky

    Most excellent insight. I feel as if the writer did my work for me -_-

    On my defense, I was looking for other people’s opinion on a particular quote when I found this article, so that I could do a more informed one myself.

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