Citizen Journal

Gordon Gekko, the character commonly seen as the antagonist in the film “Wall Street”, represents to me the apotheosis of the new American tragic hero. Consider Gekko objectively: he is a self-made man who scorns bastions of hereditary privilege, he is a doting father, he is interested in mentoring the next generation of entrants into his industry, and he prides himself on being a man with whom it is profitable to do business. These are all characteristics lauded by conservatives, and for those who profess a visceral revulsion at holding up Gordon Gekko as a pop culture figure who possesses traits and exemplifies concepts worthy of emulation, I would argue that the conservative principles embodied by Gekko are far more impressive than those embodied by the four main characters of South Park.

For me, the criteria for determining whether a character should be considered a tragic hero are simple; and Gekko unquestionably fulfills them all. First, the individual in question must have reached the top of their chosen profession (after all, tragedy requires loss). There can be little question on this point; Gekko is represented as clearly being a force to be reckoned with in his field. Second, the catalyst for the tragic hero’s fall must be an act that our society deems to be objectively good. This is the criteria over which my friendly discussion became a bit heated. To my mind Gordon Gekko served an objective good in mentoring Bud Fox and driving efficiency in underperforming companies. Third, there should be some bitter irony in the circumstances of the characters fall. Gekko fulfills this last criteria by being brought down by his protégé.

Tragic heroes need not be entirely good, they need only have beneficial traits that overshadow their failings. Yes, Gordon Gekko was an amoral corporate raider who violated securities laws. But he was also an individual supremely well adapted to the capitalist system; his illegal activity was in effect a demonstration of his willingness to act as a rational capitalist in a society that has yet to come to terms with the full implications of capitalism.

Literature is overflowing with well known characters that can easily be considered tragic heroes. My personal favorite is Satan in John Milton’s Paradise Lost. But examples from literature seem stale and lacking in immediacy. At this moment, as pop culture simultaneously devours itself and expands, we must look within that beast for heroes, if only to learn more about ourselves. When I look into that beast, I see Gordon Gekko, shinning example of the heights one can reach and the depths to which one can fall, and I am hard pressed to conceive of a better tragic hero for our time.