Film: Stark Mad

Ross Douthat

The script for Iron Man, this summer’s first successful popcorn flick, belongs atop the syllabus for a class that some enterprising film school ought to offer: How to Write Action Movies in a Polarized Climate. Ever since 9/11, and especially since the invasion of Iraq, Hollywood has veered between action heroes who embody the movie industry’s left-wing take on world affairs (with the Bourne cycle being the most prominent example) and action heroes who exist at a vacuum-sealed remove from minor matters like the Iraq War and the Islamist threat. The superhero genre has been ideal for the latter purpose, since the cape-and-tights set is famous primarily—at least among non-aficionados— for handling dangers either mundane (petty street crime in Gotham) or fantastic (supervillains, superweapons, etc.), while leaving the day-to-day business of geopolitics to ordinary mortals.

About the Author

Ross Douthat

Ross Douthat is a former National Review contributing editor.

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Ross Douthat

The script for Iron Man, this summer’s first successful popcorn flick, belongs atop the syllabus for a class that some enterprising film school ought to offer: How to Write Action Movies in a Polarized Climate. Ever since 9/11, and especially since the invasion of Iraq, Hollywood has veered between action heroes who embody the movie industry’s left-wing take on world affairs (with the Bourne cycle being the most prominent example) and action heroes who exist at a vacuum-sealed remove from minor matters like the Iraq War and the Islamist threat. The superhero genre has been ideal for the latter purpose, since the cape-and-tights set is famous primarily—at least among non-aficionados— for handling dangers either mundane (petty street crime in Gotham) or fantastic (supervillains, superweapons, etc.), while leaving the day-to-day business of geopolitics to ordinary mortals.