Everyone can see that there has been a great revival in the super-hero genre movie that has been going on for a few years. Part of that same revival is also a revival in the simply fantastic, otherworldly films such as Narnia, Cloverfield and The Happening.The super-hero genre I think is a very interesting genre, not just because it is based around some of the comics I used to read as a child (and adult) but because they are never just stand-alone stories about muscle-men and villains. From their very inception Super-Heroes have reflected how we as a society and especially America view ourselves. There is a close parallel between the super-heroes of the day (how they act, think and look), the enemies they encounter and the foreign policy of our nations. For this argument, I am focussing solely on the US/UK comic market, where our idea of a ‘superhero’ has been most prolifically developed. It is no coincidence then that the superhero genre first really took off during World War II, where heroic stories of bravery, valour and camaraderie were effectively used as propaganda against the Nazis. Every week, young boys would pore over pages telling of the weakness of Nazism and the righteousness of the Allies. Captain America, the leader of the fight and most obviously partisan of the heroes was a genetically engineered super-soldier, created in secret by the US government to enable them to spread and protect the ideas of freedom and democracy all over the world. The very idea seems abominable to us now.
DC Comics meanwhile took the opportunity of the war to catch up with Marvel’s success in the comics business and created and developed a whole host of characters that lead to the creation of the Justice League of America. The name is not entirely accurate however. Just like we see today, the JLA did not just protect ‘justice’ in America, but were essentially protectors of the whole planet, taking on extra-terrestrials, fighting the war in Europe and the Pacific and lending an unseen hand to the war-effort. This was of course how America saw itself at the time – fighting and protecting the world against oppression, then after the war healing its wounds with the creation of the UN and the Marshall Plan.Superman was unflinchingly right, upstanding and always fought for “Truth, Justice and the American Way” a statement so bold that it is hard to believe that it was serious back then. The statement nowadays would only ever be used whilst dripping with irony. The unchallenged righteousness of the American superheroes was gradually eroded during the Cold War as people came to question the methods and indeed the very ideals that the Nato countries were representing. The superheroes began to become questioning and have self-doubt. They encountered unpopularity for the first time and had to think a lot more about their actions. I cannot give an examples for all of them, but here are a few. Batman: this character, unique in his lack of super abilities but possessing of a superior intellect, physical prowess and determination. During WW2 he is another all-American hero. As the Cold War develops he becomes more brooding, more angry, cares less for the civil liberties of his enemies and is driven underground somewhat by his methods. Numerous times his place in the JLA is questioned as his methods do not suit the American ideals. Here’s a couple of covers to illustrate the decent of the ‘Dark Knight’:
Superman follows a similar story. Does anyone remember when Superman had long hair? In a short period of the late 80s or 90s, Superman was relaunched by DC as a more dark character, with long hair, sleek, sharp, bulging muscles (rather than the friendly largeness he used to have) and an heir of a vigilante about him. In Frank Miller’s epic graphic novel ‘The Dark Knight Returns’ (1986) we see a perfect juxtaposition of American foreign policy and the contradiction with the ‘American Way’. In this graphic novel, Batman is at his darkest. He is violent, pissed off, renegade and psychotically obsessed with criminal justice. He acts alone, going against all advice and popular (media) opinion. He is brutal and is called ‘fascist’ by members of the media. He has no regard for the rights of the criminals believing that his means are justified by the end. If there was a better analogy for American self-perception I’d like to see it. Miller, twisting the knife in his attack on American methods also turns Superman; from being a hero of the human race, Superman has become a lackey of the US government, cleaning up the mess they leave and being used as a secret weapon in their war against Communism.
The Incredible Hulk (created 1962) – Well intentioned scientist who has a serious temper problem. Causes more trouble than it’s worth when turns into a giant green vengeful monster.
The Punisher (1974) – A vigilante character who unlike any other super hero will happily use murder, torture, kidnapping and extortion to achieve his aims. Sports a range of weapons. He became the bane of the criminal underworld after his family was killed by the Mafia.
Judge Dredd (1977) – Dredd is particularly interesting because it was actually a British creation for the comic 2000AD. He is an unrelenting law-giving super-cop, genetically engineered to perfection who has no emotions, no subjectivity and no leniency. He patrols the streets of Mega City One (future New York) acting as Judge, Jury and Executioner. His punishments were always unreasonably harsh, but he always followed the law to the letter, no one being an exception.
Spiderman (1962) – Spiderman is only significant in this argument in terms of his transformation when he comes into contact with the Symbiote Venom. This alien brings out Spiderman’s darker side, turning him more violent. The Venom character was first introduced in 1984. Modern superheroes in the films of today follow this pattern. It is significant that the Spiderman films have a great emphasis on the idea of “with great power comes great responsibility”, which I think is an allusion to America’s power.
The rethinking and success of the Batman films (largely based on Miller’s concepts) show Batman as dark and brooding again. He has the right intentions, but is he actually helping or creating the problems? Compare this to the pre-9/11 Batman & Robin pantomime with George Clooney. As a side, it is important to notice that Batman is largely responsible for the creation of the Joker.
And now we have Hancock. Again, a well intentioned hero who is extremely powerful but incompetent, crude, brash, doesn’t care what people think about him and ends up making more trouble than what originally existed. Iraq anyone?