A deconstruction takes something apart. Shrek shows how weird fairy tales are by pitting the story from the point of view of an ogre. Suddenly the princess promising herself to whoever rescues her is especially bizarre, as is the idea of there always being a noble prince. The point of a deconstruction is usually to display how tropes and conventions in some narratives don’t work so well when held up to some more stringent logic.
In the same vein, the Batman we meet in at the start of The LEGO Batman Movie (and arguably The LEGO Movie) is a deconstruction of the Batman we got used to in Nolan’s Dark Knight Trilogy. He’s all about darkness and not having parents, singular focused on his mission, and, as we discover, quite a pain in the ass. In essence, we see this singularly focused Batman played out to an amusing end: he’s stuck in a perpetual adolescence and cares for no one but himself (and his desire to fight crime). Of course he’s not well-adjusted, he doesn’t have any friends and doesn’t see daylight. It’s this deconstruction that gives rise to the plot of The LEGO Batman Movie, which lets the movie rebuild Batman into a hero – and leader of the Bat-family.
Thing is, The Dark Knight – and Batman Begins before it – aren’t quite deconstructions; at least not in the way it’s easy to assume they are. Yes, the movies do play out some of the complications of Bruce Wayne’s Batmanning: he has to go on the run, people try to copy him, Bruce Wayne ceases to be much of a person in favor of his alter-ego. And there is the whole darkness-no-parents vibe. Nonetheless, Batman is successful at what he does, and the films make the case that yes, a superhero does work. A dude dressing up as a bat to fight criminals is a patently ridiculous concept, but Christopher Nolan and his team reconstruct Batman into a character and vigilante that makes sense in a realistic center.
Take the scene in Batman Begins where Bruce and Alfred are putting together the Batsuit. They buy the components in bulk from different manufacturers, minimizing a paper trail. Even getting the Batmobile from Wayne Enterprises’ R&D department explains away where he gets those wonderful toys. As a reconstruction it acknowledges the flaws of the Batman narrative but works past them for a fuller, more shaded narrative. A true deconstruction would have played out the final climax with Two Face differently, perhaps having Batman refuse to take the fall or even having both of them be completely vilified. As it is, The Dark Knight lets Batman take his moniker and remain an idealized hero.
There are shades of deconstruction to The Dark Knight — take the Batman-inspired vigilante who gets himself killed — but it’s all in the service of ultimately reconstructing the idea – there needs to be a ‘superhero,’ so Batman will appear the villain so that Harvey Dent can be that person. So it’s easy to mistake the whole movie as an out-and-out Shrekian deconstruction.
Which is arguably what Zack Snyder and team did in Batman v Superman. While Man of Steel wavers, BvS tries its hardest to take apart both Batman and Superman – and superheroes in general. But it doesn’t do so for comedic effect (as in Kick-Ass) or to explore what we take for granted in the genre (see: Watchmen). Instead, it does… Well, nothing. It reads The Dark Knight as a deconstruction and attempts to imitate it, but since the former wasn’t really a deconstruction, the BvS is building with the blocks; it doesn’t take apart The Dark Knight (as LEGO’s Batman does), but tries to use Nolan’s film as a deconstruct-o-lens. The result is a lot of dimly lit scenes and people grunting and growling at each other about big ideas that don’t make much sense. We learn nothing new about Superman and Batman or the conventions that surround them that would warrant it being a deconstruction, nor does it recreate the mythos in a new way that would be a reconstruction. Rather it tells the story straight, just lathered in a murky layer of grit that can’t hide its (many) narrative flaws.
There is room for a solid deconstruction of Batman, Superman ,and superheroes in general – I mean Alan Moore did it in Watchmen thirty-odd years ago. Sometimes it seems there’s a race to take apart beloved genres, and sometimes it works like in Game of Thrones, but there’s room for both, again, Nolan’s The Dark Knight. The trick is to do it for a reason, and not just because you want your story to be about darkness and not having parents.