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Shakespeare and Nolan’s Exploration of the Villan
he Joker is undoubtedly the most famous villain within modern day culture. Heath Ledger’s representation in Nolan’s ‘Dark Night’ as the infamous comic book character consolidated the Joker as a legend within fictional characters. However, an equally more infamous fictional character had been thought of far before the Joker ever emerged. In 1604, Shakespeare created an equally heinous and devious character in Othello: Iago. These two characters excel as fictional villains and are fascinating to contrast because they are inexorably linked. The external images of The Joker and Iago could not be more different. Iago is perceived as ‘honest’ throughout most of the play. His evilness is expressed behind the eyes of the rest of the characters through malevolent soliloquies addressed to the audience. Joker is the stark opposite - he’s openly evil. His messy makeup, scars running down the side of his cheek and the symbolic “villainous laugh” portray to the whole of Gotham, and the world, a truly crazy individual. Although their appearances are stark opposites, Iago seems to be an ordinary man, whereas the Joker appears deranged and psychotic: their motivations are very much alike. They have none. Samuel Coleridge, after reading Othello, coined the
phrase, “the motive hunting of motiveless malignity” (Coleridge, 1807). I think this is a wonderful description of Iago’s motivation. One of the most baffling things within the play is Iago’s reasons for causing so much destruction upon the love of Othello and Desdemona. Critics have argued that his motivation is one of racial prejudice. Iago constantly spits out racial slurs upon Othello such as “Moor,” “Barbary Horse” and “Black ram.” Other critics might perceive that his sole motivation is his desire for power. He is clearly disgruntled by Cassio’s promotion, and is constantly referred to as “ancient.” Although he has a respected name, he is
more of an errand boy than a leader. Critics have named many other reasons for his motivation; such as sexual jealousy, jealousy of their goodness, and jealousy of Othello as a man. Ultimately, Shakespeare leaves Iago’s motivation up for interpretation; he proposes to the audience the danger of man who causes destruction just for sport. Iago’s soliloquies of his evil schemes demonstrate a character who is enjoying the sport of what he is doing without offering any prior motivation - this is always disconcerting for an audience.
Joker also seems to offer no reason for his destructive actions. When batman (Christian Bale) and his butler, Alfred (Michael Caine) are trying to come to grips with their antagonist. Alfred offers the concept of Coleridge in ‘motiveless malignity’ through the line “some men just want to watch the world burn”. The word “burn” is symbolic of anarchy. Many anarchist movements have offered means of destruction through fire. For example, the Reichstag Fire of 1933, committed by a known anarchist in Marinus Van de Lubbe. An audience might confide in the idea that the Joker’s motivation comes from personality disorders caused by past traumas represented through the scars on his face. Yet, the origin of these scars is unclear, he gives two reasons for the origin of these scars in self infliction and by his father. Ultimately, the Joker’s motivation is undetectable, which makes him a far more menacing character in the Dark Knight movie. A final thought: are we now faced with our very own Joker or Iago in the form of the Corona Virus? It lacks any sort of motivation or reason for the destruction it has caused to so many lives. Does it too fit into the category of villains who are ultimately motiveless in their malignity? Jim Baring, Bl, L6th
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