Class in Batman

Introduction 

Class is often a more subtly addressed in films than issues of gender and race, as it is a form of discrimination that is often scapegoated onto the lower classes. This is prevalent in all Batman films, where Gotham is presented in a negative light due to the many members of the lower class living there who have turned to crime. Especially in the first two Batman films, there is no reasoning given to this issue in society. It is all shown as being the fault of the criminals, rather than of a corrupt societal hierarchy. Throughout the films this becomes much less explicit, and Batman begins to help the underclass rather than attack them without cause as he does in the earlier films. Although this gives a more well rounded view of poverty in society, especially in the modern era, it also plays into the stereotype that the only way for the underclass to thrive is by being helped by a richer participant. Despite the fact that this is somewhat true, it places a white, rich male as the saviour of many, continuing elitist values. Furthermore, it is also important to mention that the only reason Bruce Wayne is able to become Batman is due to his parents fortune. This is something he takes for granted throughout the films, and often makes jokes about his wealth, showing he is content taking it for granted. However, in the final instalment of the The Dark Knight trilogy, Bruce Wayne loses his fortunes and begins to live a new life, perhaps conveying the message that social status isn’t important compared to happiness. A victimised view of the homeless and others that suffer from poverty is consistent throughout the films, and this is due to the continuous scapegoating of the working class in society. 

Class in Batman: The Movie (1966)

Batman (1966) has the most demonisation of the working class. This was expected, as although there was a focus on feminism, civil rights and LGBT rights in the 60’s, there was not as much of an emphasis on working class rights. People had become disillusioned with the American Dream, but their anger had turned to those at the bottom of society rather than those at the top. In the film, there is not much emphasis on Batman’s wealth further than his Manor and Bat-Cave. His status is just a part of his character, and although this is the reason as to why he gets kidnapped in the film, it is never made as explicit as in the later movies. The main element of class warfare is shown when Batman and Robin are disapproving of the drunks in the tavern which the main villains use as a hideout. There is a lot of derogatory language used to describe these people, and this is epitomised when Robin suggests Batman shouldn’t have bothered saving their lives in the whole bomb debacle. Batman then states that 'although they may be drinkers, and might still be salvaged.' This summarises the ideas people had of the working class in the 60's, showing that they were not respected or considered as the same level of humanity.  

Class in Batman (1989)

In Burton’s 1989 film, there is more emphasis on the corruptness of the higher classes than in any other film. Characters such as Jack Napier and Alexander Knox are shown to be wealthy but through corrupt means, and are characters that get their comeuppance. However, this does not mean that blue collar criminals are seen as less dangerous or given more sympathy. The opening scene of the film is two criminals getting punished by Batman, a recurring act throughout the movie. There is a lot of discussion of the criminal underbelly of Gotham, however there is never a solution suggested by Gordon or Dent, and so Batman is shown attacking the homeless for criminal behaviour. This is all whilst Batman’s true self, Bruce Wayne, is living in a manor with countless amounts of money. In one scene, he jokes about how he has never been in a certain room of the manor before. These kind of comments throughout the film show how elitist society was then, and how people are much happier ignoring social issues and focusing on the elite. 

Class in Batman Begins (2005)

From the beginning of the 2005 adaptation of Batman, it is clear that Bruce Wayne wants to reject his elitist familial ties and to learn to survive for himself. He does this by running away from Gotham and learning various skills and tactics. This was bought on by Rachel’s introduction of  Gotham’s underclass to Wayne, who tells him that he can’t just act on criminals when they’ve been caught, but he has to tackle the causes that make people into criminals. She states that they act of desperation rather than want to commit crimes, and that the people at the top should be taken down first. This is what Bruce Wayne, as Batman, strategically does throughout the film, busting drug lords and other such villains. The motif of the train that runs around the city is symbolic of the increasingly impoverished state that becomes Gotham, as at the beginning of the film it runs perfectly. The Wayne’s are said to have built the train in order to help those struggling, and throughout the film Bruce Wayne’s parents are shown as generous philanthropists. After they have died, and Bruce Wayne has returned, the train is vandalised and no longer running as well. It is also once she has got off the train that Rachel almost gets attacked, if not for the intervention of Batman. This film has the most emphasis on helping the underclass, as unlike the other incarnations of Batman he does not focus upon petty criminals but rather those at the top of the criminal chain. 

Class in Batman vs Superman (2016)

There is the least emphasis on class in the 2016 Batman v Superman. This may be because class is now becoming more of a social issue, and so representing Batman as an enemy to the underclasses would be detrimental to the films profits. There are references to Gotham’s crime problems, however due to the different subject matter it is not as explicit as in other films. The focus is less on protecting Gotham’s civilians from a villain and more about Batman’s own fight against Superman.  There is a class contrast between Batman and Superman themselves, however. Batman is still the billionaire that he has been throughout the other film series, and this is shown by his mansion and references to wealth. Superman, however, lives in a small apartment and has a job as a journalist, where he is nowhere near the top of the hierarchy. Despite his otherworldly powers, Superman is shown as relatively average when appearing as Clark Kent. However, there is also an issue of superiority with Superman, which is a theme throughout the film. When rescuing Lois Lane at the beginning of the movie, Superman causes destruction to many innocent people. One of these women is questioned during a court case held to make Superman responsible for his actions. Innocent people are often collateral damage throughout the Batman films, and they are often places in these positions due to being working class. It is this view of the lower classes being expendable that fuels much of the Batman films, and although there are instances of the bourgeoisie being reprimanded, this is not as often as criminals from the underclass are punished. 

Conclusion

Out of the three sub topics I have evaluated over the course of this investigation, class is the one to have changed most over time. It is clear to see where the influence of modern day has come into the production of the most recent Batman remakes, as opposed to the 'traditional' values of the earlier ones. As people have become more aware of social issues in society, the representation of the lower classes has changed, and so we get a more well rounded view of what causes crime. There is less scapegoating of issues onto the lower class, and more blame placed on the people at the top who are well protected at the top of criminal rings. This contrasts to the blame placed on petty criminals in Batman (1966), in which they are more persecuted than the actual villains. It is good to see that the working class are becoming less victimised in films, which will hopefully  lead to a change for the better in society itself.