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Print May 19, 2016

Batman začíná

Trevor Lynch

1,080 words

English original here

Film Inception režiséra Christophera Nolana mě ohromil, a tak jsem se rozhodl dát jeho staršímu počinu Batman začíná (2005) další šanci. Napoprvé se mi nelíbil. Vůbec. Musel jsem však být při sledování něčím rozptýlený, protože napodruhé mi přišel skvělý. Nolan odložil kýčovitý styl předchozích snímků o Batmanovi a soustředí se na vývoj postav a jejich motivace, což film Batman začíná a i jeho pokračování Temný rytíř dělá psychologicky temným a intelektuálně i emocionálně strhujícím. 

Nolan vybral skvělé herecké obsazení. Přestože jsem byl zklamaný, že David Boreanaz – kterému by seděla jako ulitá – ztratil na poslední chvíli roli Batmana ve prospěch Christiana Balea, těžko na Baleově Batmanovi najdeme nedostatky. Možná je až příliš pohledný, ale nechybí mu inteligence, emoční komplexita a hrdinský vzhled potřebné k oživení postavy. (Adam West, Michael Keaton i George Clooney byli coby Batmanové špatným vtipem, Val Kilmer však zajímavou volbou.)

Ve filmu se objevují také Michael Caine, Gary Oldman, Liam Neeson, Cillian Murphy, Ken Watanabe, Rutger Hauer a Morgan Freeman coby jeden z oněch geniálních černošských vynálezců a mentorů popletených bělochů, ve světě science fiction tak běžných. V Temném rytíři se Bale, Caine, Oldman, Murphy a Freeman vracejí a nesmrtelný Heath Ledger je Jokerem.

Snímek můžeme rozdělit na tři části. První prokládá osudy Bruce Wayna v Číně s prostřihy do minulosti, která ho tam přivedla. Nesnáším klišé, které současná popkultura vydává za psychologii – totiž že duševní nerovnováhu lze vystopovat k prvotnímu traumatu. Proto na mě neudělalo velký dojem, když scénář vysvětlil posedlost Bruce Wayna netopýry jeho příhodou z dětství, kdy se propadl do staré studny a tam se octl uprostřed roje netopýrů a to, že se stal bojovníkem se zločinem hrůzným zážitkem, když sledoval, jak před ním jeho bohaté rodiče zastřelil lupič. Pronásledován těmito traumaty nakonec Wayne přerušil studia na Princetonu, aby se ponořil do zločineckého podsvětí a nakonec skončil v brutální čínské věznici.

Wayne se dostává na svobodu zásahem záhadného pana Ducata – kterého ztvárnil charismatický a působivý Liam Neeson – který následně vede jeho výcvik v odlehlé himalájské pevnosti „Ligy stínů,“ starobylého řádu válečníků-asketů vedeného Ra’s al Ghulem (Ken Watanabe). Liga věří v tradicionalistické cyklické pojetí dějin, které začínají Zlatým věkem a postupně se propadají až do chaosu Temného věku, který se hroutí, aby jej nahradil nový Zlatý věk. Úkolem Ligy stínů je uštědřit poslední úder civilizacím, které dosáhnou dna rozkladu, a uspíšit jejich pád. (Nemusím snad dodávat, že Liga nemá web ani facebookový profil. Nemůžete se stát členem odesláním šeku.)

Výcvik Ligy má fyzickou i duchovní složku. Jádrem duchovní cesty adepta je postavit se a překonat svůj nejhlubší strach pomocí halucinogenu extrahovaného z himalájské rostliny. V silné a poetické triumfální scéně stojí Bruce Wayne beze strachu uprostřed obřího roje netopýrů. Při prvním zhlédnutí mi unikla důležitost této proměny, která je nahlas nevyslovenou kritikou psychologie „traumatu,“ jelikož traumata ukazuje jako v konečném důsledku plytká v porovnání s hrdinskou silou a odhodláním čelit bouři. Navíc jde o výklad zcela slučitelný s přesvědčením, že přirozenost je nakonec silnější než výchova.

Bruce sice přijímá výcvik Ligy, ale nakonec odmítá její misi. Věří v pokrok i to, že úpadek lze zvrátit. Pustí se do boje s Ducatem, Ra’s al Ghul je zabit a horská pevnost je zničena výbuchem. Wayne uniká a na útěku zachraňuje Ducatovi život. Následně si nechá poslat pro svůj soukromý tryskáč a vrací se do Gotham City.

Ve druhé části se Bruce Wayne stává Batmanem. Ironií osudu se Batman blíží Nietzscheho ideji „Nadčlověka (Supermana)“ mnohem víc než postava Supermana. Superman totiž v prvé řadě vůbec není člověk, jen jako my vypadá. Jeho dovednosti tu prostě jsou. Nietzscheovský nadčlověk se ale něčím víc než člověkem musí stát. Bruce Wayne si podmaňuje přirozenost – jak svou vlastní, tak světa kolem sebe. Coby člověk se stává něčím víc.

V oblasti morálky však Batman rozhodně nadčlověkem není, zůstává totiž svázán sentimentální představou o vnitřní hodnotě každého lidského života. Neuvědomuje si, že takováto morálka snižuje a popírá hodnotu jeho vlastního počinu. Batman může být trpěn jedině pod podmínkou, že slouží podřadným lidem, kteří se mu nevyrovnají. Všeobecná lidská práva – rovnost – vnitřní důstojnost – posvátnost každé spermie: tyto myšlenky ospravedlňují podmanění a konečné zničení všeho, co se nachází pod – nebo nad – lidstvem. Nejde jen o rozsudek smrti nad přírodou, jak tvrdí Pentti Linkola, ale i nad lidskou výjimečností, vysokou kulturou a čímkoliv, co v člověku míří a směřuje nad něj.

Batmanova humanitářská etika samozřejmě má své hranice, zvlášť když při svém úniku Batmobilem drtí a bourá do policejních aut, proráží zdi a strhává střechy. Plánuje tedy Bruce Wayne dobré gothamské občany odškodnit nebo tady skutečně vstupuje na scénu vyšší morálka?

V části dvě začíná Batmana s čistěním Gotham City, přičemž naráží a rozplétá důmyslné spiknutí. Až ve třetí části se dovídáme, kdo za ním stojí: Liga stínů. Neesonem ztvárněný Ducat je ve skutečnosti Ra’s al Ghul, který se s Ligou vrací postrčit chaosem zmítané Gotham City přes okraj propasti. Batman samozřejmě na poslední chvíli jeho plány zhatí a Gotham tak smí klopýtat dál a propadat se stále hlouběji do dekadence, jak jeho obyvatelé upínají zrak k zářícím fata morgánám naděje a věčného pokroku, které svedly a podmanily si i jejich šampiona.

Batman začíná je temné a vážné dílo oživené jemným humorem, úchvatné na pohled. Scénář společně vytvořili Christopher Nolan a židovský spisovatel a režisér David Goyer. Pozorný divák si všimne několika úliteb politické korektnosti, jako obsazení Morgana Freemana do role Lucia Foxe (i když mi osobně přijde nemožné nesnášet Morgana Freemana) a detail, kdy je jeden z Waynových předků popsán jako zachránce otroků za občanské války, ale nic skutečně výrazného.

Batman začíná obsahuje mnohá z témat, kterými jsem se zabýval ve svých recenzích děl Guillerma del ToraHellboy a Hellboy II. I zde se padouši zdá se hlásí k tradicionalistickému cyklickému pojetí dějin; za rozhodující historickou tendenci považují úpadek; věří, že žijí v Temném věku a že věk zlatý nastane teprve po zničení současného uspořádání, kterému chtějí napomoci. Co padá, je třeba postrčit.

Hrdinové naopak věří v pokrok. Proto se domnívají, že lepšího světa lze dosáhnout prací na dnešních základech.

Jde o velice vytříbený a naprosto radikální protiklad, který lze využít k vytvoření dramatického konfliktu, v kterém jde o mnoho – jaký boj totiž může nabýt většího významu než střet lidí, kteří chtějí svět zničit s těmi, kdo se jej snaží zachránit?

Proto se nabízí otázka: Kdo v Hollywoodu čte knížky Reného Guénona a Julia Evoly – nebo, v případě Hellboye, Savítrí Déví a Miguela Serrana? Někdo v útrobách bestie si jasně uvědomuje, že nejzazší revoltou proti modernímu světu je tradicionalismus užitý coby zbraň.

Source: http://deliandiver.org/2016/04/batman-zacina.html

 

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