Harrison Ford's enthusiasm for thumping the newly emboldened far right is welcome.
in “The Avengers” to Hitler because he is “standing above everyone else” — which wasn’t really the uniquely bad thing about Hitler. Even the classic “Casablanca” was leery of discussing antisemitism and racism directly. Humphrey Bogart’s Rick joins the antifascist fight for personal reasons, rather than because he has thought deeply about the precepts of fascism and morally condemns them.
Hollywood in general wants to tell fun, exciting adventure stories. But real-life Nazis, spouting real-life bigotry and committing real-life atrocities, aren’t much fun. If you showed Indy fighting“Dial” flirts with acknowledging that, contra Indy’s black-and-white vision, fascists aren’t always instantly recognizable. In the film, Voller changes his name and is hired by the U.S. to help with its moon launch program. The movie could, perhaps, have shown Voller hobnobbing with U.S. power brokers.
Instead, the U.S. alliance with Voller is treated as entirely pragmatic, if unsavory. And in any case, Indy instantly recognizes Voller, and soon enough the villain is re-donning his Nazi duds. Potential American complicity is rushed past on the way to yet another chase. When you see the world in black and white, there’s a lot of evil that may get obscured in the gray shadows you erase.
None of this means Hollywood is responsible for a resurgence of fascism. But it’s too bad that decades of anti-Nazi films have seemingly done so little to inoculate the U.S. polity against fascism, beyond maybe aPunching ideas is tricky, and fascism is an idea first, before it persuades people to wear armbands or storm the U.S. Capitol. When you see the world in black and white, there’s a lot of evil that may get obscured in the gray shadows you erase.
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