Batman Begins, Gotham and Gomorrah: (Shows #556 & 562)

I have gotten repeated requests to provide some sort of summary on this two-part program. I’ve been slow to provide it, because, frankly, it’s a lot of material. But here goes:

This show was billed as “How Batman Begins is based on the Biblical story of Sodom and Gomorrah.” However, it is fairer to say it shares many commonalities with the tale. I have nothing from the writers of this film indicating they intended a modern retelling of the tale—but a modern retelling of the tale it is, intentional or not.

Background on Sodom and Gomorrah:
The myth of Sodom’s and Gomorrah’s destruction is found in Genesis, chapters 18 and 19. It is a simple plot. God comes down to meet his loyal subject Abraham. God shares his plans to destroy the cities of Sodom and Gomorrah. He has heard reports that the cities are—well, actually I’m not sure what he’s heard specifically. What the cities are guilty of is never clearly revealed. Basically, He’s heard that they’ve been very, very naughty. And he plans to investigate the allegations, after which, he’ll know for sure if what he’s heard is true.

God never states that he has any intention of destroying the cities, but Abraham gets that impression, and Yahweh doesn’t dispute him. Abraham has a history of unquestioning obedience to Yahweh (look up “Abraham and Isaac”). But here, the same man who would have murdered his own son as a human sacrifice to God points out that god’s plan could be considered unjust. Abraham’s plea amounts to the idea that there must be good people in the city, and that god, righteous as he is, would never kill good people in his lust for vengeance against those who are, for whatever reason, judged to be wicked. Abraham, being for a moment almost a humanist, tries to reason with Yahweh to save the cities by appealing to His pride and reputation (it should stand out that he doesn’t attempt an appeal to Yahweh’s compassion), “Far be it from you to do such a thing—to kill the righteous with the wicked…Will not the Judge of all the earth do right?"

In what is perhaps the most famous aspect of the story, Abraham bargains with god to spare the cities for the sake the righteous. Yahweh says he will spare them if he can find 10 such people. Later, the cities are destroyed without any confirmation whatsoever in the story of how many “righteous people” were found. Actually, there’s no account of any attempt at investigation on Yahweh’s part to try to determine the number of “righteous people” in the cities. We go straight from the scene where God tells Abraham he’ll spare the city for 10 righteous people, to a new scene where two angels (who had accompanied Yahweh during his visit to Abraham’s) are imploring Lot and his family to leave the doomed locales. Lot is Abraham’s nephew, who lives in the area. So, without any recorded tally of righteous people, the cities are marked for destruction.

If I assume, as most Christians do, there were less than 10 righteous people in the cities, it still appears that, like the myth of The Flood, children don’t count. There is no indication in the myth that any children were spared, pitied, or even considered for the briefest moment.

We're left to guess what the sin of Sodom and Gomorrah might have been and to guess how many righteous people Yahweh was ultimately willing to destroy for the sake of vengeance. But that’s the tale in a nutshell.

The Characters of the Bible Story:
Yahweh (and his angels): Powerful, supernatural being bent on the vengeful destruction of the cities after judging them wicked beyond salvation. Spiritual “father” to Abraham.

Abraham: Loyal follower of Yahweh who tries to intervene to save the cities for the sake of the righteous.

Lot: Abraham’s nephew who lives in the area.

The Wicked: They make a brief appearance as a mob who mean to inflict harm on Lot’s angel guests.

The Righteous: Never make an appearance. In some sense Lot and some of his family may be part of this group.

The Storyteller: The Hebrew adherent who puts forward the story and creates the other characters in conjunction with the spiritual beliefs of the religious institution of which he is a part.

The Characters of the Film:
Batman Begins has pretty much the same roster.

Ra’s al Ghul: Leader of a powerful organization (that shrouds itself in the trappings of supernatural power) bent on the destruction of the city of Gotham. According to Ra’s, “Gotham's time has come…the city has become a breeding ground for suffering and injustice. It is beyond saving and must be allowed to die.” He claims the right of judge, jury and executioner. Ra’s is not portrayed as a compassionate humanist. He admits to Bruce openly that he is motivated by “vengeance.” Another clear parallel with Yahweh of the Bible.

It is important to note that while I initially identified Ra’s as correlating to “god” in the story, he actually appears to be the equivalent of the religious leader, who creates the character of god in order to empower his will and justify his actions. If we take the Bible story as fact, then Ra’s is playing the role of god—but the correlation then fails immediately, as Ra’s is not really supernatural, but only a very powerful man who feigns supernatural ability and immortality.

To the Christian viewer, Ra’s would be an imposter god, and, therefore, unjustified in his actions toward Gotham. This would produce a disconnect that would allow a Christian to accept the message of the film as not being critical of his god’s actions in Sodom. In other words, god acted rightly toward Sodom and Gommorah for no other reason than he is god. Ra’s, being a mere mortal, would not be justified in judging or meting out justice upon Gotham in the same way.

If, however, we take the story as a product of Hebrew religious myth from the point of view of a religious storyteller, then Ra’s (with his League of Shadows) correlates to a religious leader (and institution) who produces god to further his own goals. And, in that case the character of god would actually be completely lacking in the film—just as he is lacking in observable existence. All we have of god, then, in the film, are men who use the god concept (specifically the fear of it injected into others) to empower their own actions. So, we have a choice to go with an interpretation that fails to correlate with the Sodom story's main character (god to man)—or one that successfully correlates (man-made symbol to man-made symbol), but only from an atheistic perspective.

Bruce Wayne: Correlates to Abraham—loyal follower of Ra’s who desires to support the will of Ra’s, until he begins to question the justice and benevolence of Ra’s’ actions and goals. In fact, even the famous Biblical bargaining scene is repeated in the film, as Bruce tries to reason with Ra’s that the city should be spared for the sake of the righteous. The culmination of the exchange is Bruce’s statement to Ra’s that, “Gotham isn't beyond saving. Give me more time. There are good people here.” It is important to note here as well that Ra’s was ultimately responsible for Thomas Wayne’s death, after which he hand selected Bruce in a “lost” state and mentored him—becoming the father that was lost. Just as Yahweh is a surrogate father-god to Abraham.

Like Abraham, Bruce is not only interested in the welfare of the generic “righteous people,” but also those close to him (Lot and his family). The most celebrated righteous man in Gotham is no longer living. Thomas Wayne, Bruce’s father, appears to be in a blood line of righteous men. His virtues in helping people in the city of Gotham are repeated throughout the film, and even Thomas’ own ancestors are incorporated as good men. Alfred informs Bruce that his “great-great-grandfather was involved in the Underground Railroad, secretly transporting freed slaves to the North.” The Wayne family is a righteous family from a humanitarian perspective.

Humanitarian goals, however, appear to conflict with the vengeance of Ra’s. In talking about his plans to destroy Gotham, he admits to Bruce, “Over the ages our weapons have grown more sophisticated. With Gotham we tried a new one. Economics. But we underestimated certain of Gotham's citizens—such as your parents. Gunned down by one of the very people they were trying to help. Create enough hunger and everyone becomes a criminal. Their deaths galvanized the city into saving itself, and Gotham has limped on ever since. We are back to finish the job. And this time no misguided idealists will get in the way.”

Alfred and Rachael: Correlate to Lot and his family—those for whom Bruce cares. In general the generic Righteous People are also represented, and we even have an appeal to the idea of considering children among the victims—something sorely lacking in most Biblical destruction myths. There is a repeating character of a small boy who puts in a few cameos throughout the film.

There are other characters that bring hard realism into the film, which is one of the superior features of this film over the past Batman films. Gordon represents the struggle of man within corrupt social infrastructure—similar to Rachael’s character in many ways. His Quixote-style struggle to benefit society while constrained within the layers of a thoroughly corrupt social system is a flagrant anti-vigilante statement. We feel his frustration to the point of wondering at times why he even bothers to continue in his role as an officer of the law. But he still holds out hope—dwindling as it may be—that if a good system isn’t working, right action doesn’t include blowing up a building or killing people. He works as far as he is able, within the system, to correct what is broken and make it function successfully again. But he, alone, or at least disenfranchised from others of the same mind, can have little to no impact. (That is my one plug for the OUT movement.) This is quite contrary to Ra’s’ philosophy, “If someone stands in the way of true justice...you simply walk up behind them and stab them in the heart.”

Fox: Science and technology are represented as being on the side of reason and humanism. Fox is the sci-tech guru, and the film’s icon of calm reason. His character, immersed in science and reason, actually produces the antidote to “fear”—Ra’s’ weapon of choice, produced in mass quantities by his brilliant, but diabolical subordinate, Crane. If Fox is the epitome of calm reason, his opposite, Crane, is no less the epitome of calm insanity.

Crane: Supplies mass fear, in the form of a neurotoxin derived from a blue flower, that shrouds and empowers Ra’s. And like any faithful adherent to a religious leader or institution, he operates in his own self-interest—Ra’s’ promise of reward. Ra’s explains to Bruce, “He thought our plan was to hold the city to ransom.” Also, during a discussion with Falcone, Crane makes a statement that is reminiscent of the religious adherent proselytizing or the Old Testament prophet, “I am more than aware that you are not intimidated by me, Mr. Falcone. But you know who I'm working for, and when he gets here...”

It is clearly then a struggle between a group of a humanist mindset and a group using fear and deception (of a false supernature) in order to gain power and wreak indiscriminate vengeance upon a population Ra’s has judged unfit to go on living.

The quotes supporting the use of supernature and fear as weapons against the masses are so thick it’s hard to cull them. But, below, I supply a batch as examples.

On Supernature and Deception (being more than a man in the minds of others):
Ra’s/Ducard: Theatricality and deception are powerful agents. You must become more than just a man in the mind of your opponent.

Ironically, this sentiment is echoed later by Bruce himself as he works out his Batman persona, “Theatricality and deception...are powerful weapons, Alfred.”

Ra’s/Ducard: You know how to disappear. We can teach you to become truly invisible…The ninja understands that invisibility is a matter of patience and agility.

Ra’s/Ducard: …if you make yourself more than just a man—if you devote yourself to an ideal…then you become something else entirely…Legend…

Bruce: People need dramatic examples to shake them out of apathy. I can't do that as Bruce Wayne. As a man I'm flesh and blood, I can be ignored, destroyed. But as a symbol—as a symbol, I can be incorruptible. I can be everlasting…Something elemental, something terrifying.

Finally, in a conversation between Ra’s and Bruce, humanism and reason stand up to supernatural claims to call them out for what they are:

Ra’s/Ducard: But is Ra's al Ghul immortal? Are his methods supernatural?

Bruce: Or cheap parlor tricks to conceal your true identity, Ra's?

Not to beat a dead horse, but in claiming the film puts forward a statement about religion, showing the repeated messages to this effect is necessary. In Batman Begins, it is not necessary to search with a fine-toothed comb for clues. It hammers us over the head with blatant and repeated messages throughout. Using the Sodom theme as our guide to the characters, Bruce is little more than a mouthpiece, stating outright that god is a cheap parlor trick—a mask—to conceal the real power of religious authority.

It’s no coincidence that masks play such an overwhelming role in this film. Ra’s hides behind a supernatural façade, but he is none other than Ducard. Crane plays the Scarecrow. And in a confusing string of masks, Bruce hides behind Batman, who hides behind Bruce. The “Bruce” we see dating models and buying expensive things is a front for Batman who is a front for the “real” Bruce. As Rachael points out near the end (talking about Bruce’s face), “This is your mask. Your real face is the one that criminals now fear.” This is interesting because of all the “masks”—Batman appears to be the only one that was “real.”

But clearly Ra’s, the deception of the supernatural “more than a man” mask (god), is used as a front to provide the League of Shadows (religious institutions) with unquestioned power. Unquestioned in the sense that so long as everyone is paid off (with Heaven) or scared (of Hell or social condemnation), nobody dares to question what’s in Falcone’s crates—to use another metaphor from the movie we’ll get to in a bit.

When Bruce stands up to Ra’s, we see humanism and reason confronting superstition, vengeance and fear in a struggle for the population, “I'll be standing where I belong. Between you and the people of Gotham.”

In another response by Bruce, we hear him say, “This is just the beginning. If they hit the whole city [with Crane’s fear-inducing neurotoxin], there's nothing to stop Gotham tearing itself apart.” In other words, if everyone is infected with fear, there will be no reasonable perspective left to restore order.

On Fear:
Ra’s/Ducard: ...men fear most what they cannot see. You have to become a terrible thought. A wraith. You have to become an idea!

Ra’s/Ducard: Feel terror cloud your senses. Feel its power to distort—to control. And know that this power can be yours.

Ra’s/Ducard: To manipulate the fears in others...you must first master your own.

Rachel gives a potent speech on the paralyzing effect of fear: “As long as he [Falcone] keeps the bad people rich and the good people scared, no one will touch him. Good people like your [Bruce’s] parents, who'll stand against injustice, they're gone. What chance does Gotham have when the good people do nothing?”

Falcone sums up his take on fear with this, “…you always fear what you don't understand.”

Crane illustrates how, rather than paralyzing, fear can also motivate dangerous reactions, “Patients suffering delusional episodes often focus their paranoia—on an external tormentor…” Who could forget the images of 9-11? How long have gays been persecuted in our own society? What was it like a few hundred years ago to be an apostate or a heretic? Irrational and paranoid fear is nearly all that is needed to motivate one group to unfairly, and with real animosity, unleash upon another. As Thomas Wayne explained to Bruce about the bats, “You know why they attacked you, don't you? They were afraid of you.” He also, reasonably notes that those who would use fear against others must understand fear themselves—that is, be subject to the effects of fear, “All creatures feel fear…especially the scary ones.”

On Compassion:
When Ra’s begins his attack on Gotham, he nonchalantly informs Bruce, “Now, if you'll excuse me, I have a city to destroy.”

Ra’s take on compassion clashes noticeably with all of the characters of Reason in the film. Finch, Rachael’s boss, small part that he plays, even understands that addressing wrongdoing should not include disregard for the well being of those who are not to blame. When the investigation threatens to put Rachael in harm’s way, Finch makes it clear, “…as much as I care about getting Falcone, I care more about you.”

In a telling exchange between Ra’s and Bruce, we see the conflict between vengeance and compassion hightlighted:

Ra’s/Ducard: Your compassion is a weakness your enemies will not share.

Bruce: That's why it's so important. It separates us from them.

On Justice vs. Vengeance:
No character in the film disputes the corruption levels of Gotham. The question is only one of how to address the problem in the most appropriate way—through blind vengeance or through reasoned justice combined with compassion? Although this is clearly addressed several times in the dialogue, perhaps the clearest expression is between Bruce and Rachael:

Rachel: You're not talking about justice. You're talking about revenge.

Bruce: Sometimes, they're the same.

Rachel: No, they're never the same. Justice is about harmony. Revenge is about you making yourself feel better. It's why we have an impartial system.

Later, Bruce recognizes Rachael’s point, “I was a coward with a gun, and justice is about more than revenge.”

Religious Language and Symbolism:
Other religious language in the film is not to be overlooked, quotes like these pepper the exchanges:

Ra’s/Ducard: When I found you in that jail, you were lost. But I believed in you. I took away your fear, and I showed you a path. You were my greatest student. It should be you standing by my side, saving the world.

Ra’s, posing as Ducard: Ra's al Ghul rescued us from the darkest corners of our own hearts.

In contrast to the religious ideology of salvation via an external source, Thomas Wayne’s statement, often repeated in the script, is supportive of self-reliance and stands in stark contrast, “why do we fall? So we can learn to pick ourselves up.” Thomas’ other mantra is this: “Don't be afraid.”

Alfred also asserts self-reliance and the idea that we make our own destinies: “I wouldn't presume to tell you what to do with your past, sir. Just know that there are those of us who care about what you do with your future.”

Rachael has something to add to the discussion on self-reliance as well, “it's not who you are underneath...it's what you do that defines you.”

Even the murderer Joe Chill chimes in with a statement about responsibility for one’s actions, “Sure, I was desperate, like a lot of people back then...but that don't change what I did.”

Other lines filtered through religion-colored lenses include:

Bruce: You're not the devil. You're practice.

Or more on lost states and salvation:

Ra’s/Ducard: …whatever your original intentions...you have become truly lost.

Bruce: And what path can Ra's al Ghul offer?

Ra’s/Ducard: The path of a man who shares his hatred of evil...and wishes to serve true justice.

There are even a few lines that may strike chords with aficionados of Bible trivia:

When Batman is interrogating Flass, Flass shouts out, “I don’t know! I swear to god!” Batman replies, “Swear to ME!” If this sounds familiar, it should. Hebrews 6:13 states that “When God made his promise to Abraham, since there was no one greater for him to swear by, he swore by himself.” In light of this passage in Hebrews, asking Flass to swear to Batman, rather than to god, produces a usurpation of the god symbol. With Bruce’s prior statements about creating the Batman symbol, which will follow Ra’s lead of making him “more than a man,” we see him, as a symbol of humanistic compassion and reason, raised to a supreme and unchallenged status—even above god. The dialogue now goes beyond Ra’s as a metaphor for god, to the use of the actual symbol god.

Another cameo religious line comes in toward the end when Bruce tells Ra’s, “let these people go.” This is nearly verbatim of a very famous religious quote from Moses (speaking on behalf of Yahweh) to Pharoah—another situation where an oppressed population required emancipation, and here again, Batman speaks words of his own that are, in Biblical terms, words from a god. Extremely interesting here, too, one minor change in the line is the switch from “my” (showing ownership) to “these” (showing autonomy). Batman demands their release on humanistic authority, respecting the human autonomy of those in danger. His power and will to help them requires no submission or reciprocation on their part. This is a slight, but highly significant difference in the two statements—as Yahweh’s assistance is always provided at a cost.

Perhaps the most clear contrast is a statement that reflects Jesus’ divine identity in the New Testament that he is “The Word,” and, subsequently, the Christian’s claim that they are “spreading The Word.” Ducard explains exactly what “spreading The Word” is really about: “Time to spread the word. And the word is—panic.”

Another interesting use of religious symbolism is found in the “rare, blue flower.” Bruce is told to climb a mountain—but he must carry a “rare, blue flower” with him. Ra’s puts it thus, “If you can carry it to the top of the mountain—you may find what you were looking for in the first place.” A friend who actually mountain climbs pointed out that this was his favorite scene. He went on to explain that the use of the words “if you can” should be a red flag. Climbing the mountain, he pointed out, is the hardship. Carrying a flower with you represents no challenge. So why carry the flower? Simply to show loyalty and obedience to Ra’s’ will. A viewer wrote in to point out that this flower represents “faith,” and that appears to be dead-on. Meanwhile, it is no surprise later in the film to find that this flower, faith, is used to produce a neurotoxin that imparts fear to the entire population when spread by Ra’s (the religious leader) and Crane (his adherent).

Further religious symbolism strikes when we consider that fear is used more than once to rebuff inquiry. As Falcone so clearly explains, “Ignorance is bliss, my friend. Don't burden yourself with the secrets of scary people.” The writers illustrate his point when they have Finch try to investigate the contents of Falcone’s shipments at the docks. Finch is told by the guards, “Listen, counselor, we don't wanna know what's in Mr. Falcone's crate.” Do not question. Do have faith. Use fear where bribes fail. If push comes to shove, get violent. Finch does, in fact, end up dead for his inquiry.

What defense is there against the effects of fear? Oddly enough, Crane hands us the key, “only the mind can grant you power.”

Ra’s uses Crane to make the blue flower of faith convert to fear, where it is described, in the film, as an honest to goodness mind poison. When Rachael is injected with it, Crane says, “the mind can only take so much.” And Bruce points out later that “she needs the antidote before the damage is permanent.” Could the effects of fear and faith poison the mind so as never to be undone? I certainly hope that’s not the case.

And who should produce the antidote to this mind poisoning fear brought on by faith, but Fox, the icon of reason and science—real inquiry and information. Later, Batman instructs that the antidote (provided by reason) must be administered to the entire population.

Even to the last, the film is a promotion of a humanist perspective. Gordon says to Batman that he never said “thank you.” And Batman replies, “you’ll never have to.”

Reason, humanity and justice serve humanity and require no homage—no money, no bloodletting of animals or of humans, no pledge of loyalty, not even gratitude. They demand no fear. They fear no inquiry. They provide equal support to everyone to pursue happiness and fulfillment in their lives, and they demand nothing in return for what they offer and provide. Perhaps with more works like Batman Begins on the market, more people will begin to consider taking advantage of those offerings?