Beyond The Surface: Unpacking Allegory in The X-Men, Avatar, and The Planet Of The Apes
Allegory is typically described as a literary device or metaphor that is often symbolic and used to convey a deeper truth or meaning. It can be employed to mask an unpopular message without fear of criticism, retribution, or attack. Two literary works that exemplify the use of allegory are George Orwell's "Animal Farm" and Arthur Miller's "The Crucible," both of which are considered classics. On the surface, "Animal Farm" tells the story of an oppressive farmer overthrown by revolutionary pigs, who, upon gaining power, become oppressive themselves. The book warns that "power tends to corrupt and absolute power corrupts absolutely." But is it merely about disgruntled farm animals? I think not.
In reality, Orwell's message has nothing to do with farm animals. His book was a critique of communism. Lenin and Stalin overthrew an oppressive Russian Czar only to become oppressive themselves once in power. Stalin would later be known as one of the worst murderers and human rights violators in history. Arthur Miller uses the technique of allegory in his novel "The Crucible" in a manner similar to Orwell. "The Crucible" appears to be about the infamous witch-hunt in Salem, Massachusetts, which resulted in the deaths of 40 people. For Miller, the story had little to do with witches and more to do with the era of "McCarthyism" that swept through the United States in the 1950s. Joseph McCarthy was a Senator who gained notoriety as a paranoid fearmonger, so worried about a communist takeover that his suspicions led him to conduct "witch-hunts," targeting many innocent people as communist conspirators.
Allegory is a literary device, but since many films are adapted from literature, it can be easily applied to other media. My aim here is to reveal how allegory has been utilized in film and popular culture as an effective educational tool. I specifically focused on three films or series: X-Men, Avatar, and The Planet of The Apes. For those unfamiliar, the X-Men are a team of comic book superheroes created in the 1960s by Stan Lee and Jack Kirby.
The creation of the X-Men in the 1960s is significant, as the culture, politics, and events of that era clearly influenced them. We must always remember this context. Additionally, the fact that both Stan Lee and Jack Kirby are Jewish cannot be overlooked, as their Jewish heritage and experiences likely shaped the comic book's storyline. Unlike traditional comic book heroes such as Spider-Man, Hulk, and The Fantastic Four, the X-Men are mutants. Mutants do not acquire their powers from a rare accident, like being bitten by a radioactive spider or exposure to gamma rays; instead, they are born with their abilities. This distinction sets them apart from both humans and other superheroes. These differences lead to them being hated, discriminated against, and even hunted down and killed.
The similarities between the X-Men and other marginalized groups, such as Blacks and Jews, are immediately apparent, and this is intentional.
In the X-Men storyline, two particular mutants hold very different views on the future and survival of mutants. These leaders are Charles Xavier, known as Professor X, and Magneto. Xavier believes that the future safety of mutants can only be achieved through the unification of mankind and mutant kind. Conversely, Magneto argues that mutant survival will be ensured only by defeating humans, as he sees humanity as inherently wicked with no potential for redemption. Many have suggested that Civil Rights leaders Dr. Martin Luther King and Malcolm X likely inspired the characters of Xavier and Magneto. Indeed, in the first X-Men film titled "X-Men," Magneto echoes Malcolm X's famous phrase, "By any means necessary," to Xavier.
This is too significant to be mere coincidence. Magneto stands as a universal symbol, being a Holocaust survivor who embodies the struggles of numerous groups of people.
In the X-men film First Class the racial allegory is even more obvious especially with the mutant known as Mystique.
Mystique has the power of a shape shifter able to take the face of whoever she chooses; however, in her natural state she stands out with her striking blue skin tone. Her skin color because it stands out when compared to both humans and many mutants becomes a source for her insecurity.
Even Professor Xavier, with good intentions but a lack of understanding, suggests she simply change her skin color to blend in. In contrast, Magneto, who embraces his mutant identity, reassures her that she looks perfect as she is. Inspired by Magneto's words, Mystique later proclaims, "A mutant and proud." This statement carries a dual significance: it not only signifies her acceptance of her identity but also echoes the sentiment of James Brown's song "I'm Black and I'm Proud," highlighting the allegorical message within the X-Men narrative.
The movie Avatar is rich with allegorical messages about race, imperialism, and the environment. Afrocentric scholar Anthony Browder has written an insightful analysis of Avatar that is both enlightening and thought-provoking. Directed by the renowned James Cameron, known for his work on the Terminator series and Titanic, Avatar reflects the influences of the 1960s. This era was significant not only for the Civil Rights Movement and heightened racial awareness but also for the Anti-War Movement sparked by the United States' involvement in Vietnam. In Avatar, Cameron tackles themes of race and imperialism through powerful allegory, akin to wielding a double-edged sword. The film is set on a planet called Pandora, inhabited by an alien civilization known as the Na'vi. Everything seems fine until
Earth's corporations, supported by the Marines, find a precious natural resource known as unobtanium beneath the Na'vi's sacred grove on Pandora.
This storyline immediately brings to mind comparisons with our conflicts in the Middle East and the valuable oil reserves there, the oil found in the sacred Black Hills of the Sioux, the conquistadors' desire for the gold of the Inca and Aztec, and we must also remember the rubber trees and diamond fields in Africa that prompted the European powers to scramble.
The Na'vi are clearly racialized by Cameron, as the Marines use derogatory terms like "savages" and "blue monkeys" to refer to them. When Avatar premiered in theaters, TMZ employees humorously questioned James Cameron at the airport about the absence of black people in his film. Cameron replied, "They are, but they're blue." This video has since been removed, likely to avoid potential misinterpretation and offense. On closer examination, all the main Na'vi characters in the movie are portrayed and voiced by people of color.
The Na'vi are portrayed by Zoe Saldana, C.C. H. Pounder, Wes Studi, Laz Alonso, and Peter Mensah. This is no coincidence. It's a brilliant casting choice used to emphasize the nature of colonialism, where European nations typically colonized, while darker nations suffered the consequences. The character of Jake, the white Avatar from whom the title is derived, also plays a significant role. An Avatar allows human consciousness to be transmitted into a Na'vi body. Some viewers might be bothered by Jake's presence in the film, recognizing the "white savior" motif. However, setting that aside, Jake symbolizes for many white viewers the individual’s power to break away from "groupthink." This power is within all of us, allowing us to step away from the collective. Reflecting on history, one might recall John Brown, the white abolitionist who took up arms against slavery, opposing his own people at Harpers Ferry, Virginia. Interestingly, at the 2010 Academy Awards, Avatar, an anti-war film, competed against the "patriotic" movie The Hurt Locker. Adding to the intrigue, James Cameron faced off against his ex-wife Kathryn Bigelow for the best director award. Needless to say, Avatar did not win the Oscar, as it was too contrary to the prevailing sentiments of the time.
This leads us to the summer blockbuster and film series, The Planet of the Apes. To truly grasp the essence of The Planet of the Apes, it's essential to first examine the original. The current series is actually a remake of the original series from the late 60s and early 70s, which was based on a French science fiction novel. It's important to consider the events of the late 60s, as this era was pivotal for artistic development, much like the lives of Stan Lee and James Cameron, with art becoming a form of protest. In 1968, Martin Luther King was assassinated, sparking riots across America as black youth expressed anger and frustration over racism, poverty, and disenfranchisement. The situation was so concerning that the U.S. government established the Kerner Commission to investigate the causes of the riots. The Watts Riots, in particular, epitomized the pent-up frustration and powerlessness felt by the black community.
The Watts riots had the most significant impact on the Apes series. The original Planet of the Apes films include Planet of the Apes (1968), Beneath the Planet of the Apes (1970), Escape from the Planet of the Apes (1971), Conquest of the Planet of the Apes (1972), and The Battle for the Planet of the Apes (1973). Among these, Conquest is particularly inspired by the Watts Riots and Black Power, a fact acknowledged by the writers themselves. J. Lee Thompson, the director of Conquest, confirmed it was "absolutely based on the Watts riots." In the gang documentary Bastards of the Party, the Watts Riots are described as the first instance where the black gangs of Los Angeles ceased fighting each other to unite against a common oppressor, similar to how the Apes rallied under Caesar's leadership.
Paul Dehn, the writer of Conquest, notes that the Apes series has been notably popular among Black audiences, who see parallels between themselves and the apes, viewing them as a symbol of Black Power akin to Ape Power, and they find this enjoyable. Recently, some members of the Black community, including Black Lives Matter activist Deray McKesson, have criticized The Planet of the Apes as racist, suggesting it equates Black people with apes. However, this interpretation overlooks the broader message. Author Eric Greene, in his book Planet of the Apes as American Myth, explains that the series suggests a deep alienation between Blacks and whites, necessitating their portrayal as entirely different species for symbolic representation.
During the Watts Riots, the racist Los Angeles Police Chief William Parker referred to black rioters as "monkeys in a zoo." In the early history of the United States, some white pseudo-scientists considered blacks to be subhuman, viewing them as a missing link in the evolutionary chain, not even a whole person but three-fifths of a man. The term "ape" or "monkey" was used as a racial slur against blacks, making its use in the film series significant. The Ape movies are not racist; in fact, they critique racism. The protagonist of "Conquest" is an ape named Caesar. When a disease kills household pets like cats and dogs, apes become their replacements. Caesar is captured, sold as a slave, and even whipped. This poor treatment radicalizes Caesar, leading him to teach the other apes to resist.
The current Apes series draws significantly from the original allegory, yet it modifies certain elements while remaining fundamentally true to the themes of race, oppression, and revolution. In the first installment of the remake, titled "Rise of the Planet of the Apes," Caesar rescues a powerful caged gorilla named "Buck." As writer MK Asante Jr. highlights in his memoir "Buck," this name refers specifically to black males during slavery. Terms like black bucks, slave bucks, and more recent references such as buck wild and young buck were used. The allegory is both obvious and elusive, as it is often right before your eyes, clear as day, but only if you know what to look for.
Further Reading:
Sean Howe. Marvel Comics: The Untold Story. 2013. Harper Collins-Publishers.
Anthony Browder. Avatar Revisited: A Historical And Cultural Analysis. 2010. IKG.
Eric Greene. Planet of the Apes as American Myth: Race and Politics in the Films and Television Series. 1996. McFarland & Company Publishers.
MK Asante. BUCK. 2013. Spiegel & Grau.
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