As I'm relatively sure we're all aware, the overall theme the NATM movies try to beat us over the head with is of a man finding his place in the world, no matter how menial his place seems at first. However, there is also another theme running through both movies, from the world famous saying "power corrupts". In Night at the Museum, the power of the tablet to sustain life and vitality is what corrupts Cecil and gives him the idea to steal it and frame new hire Larry for the crime. It apparently doesn't take much to persuade his two colleagues, Gus and Reginald, to go along with the scheme, since they are not immune to the effects of the tablet and they're all in when it comes to Cecil's plot. (That Cecil doesn't come back for them when the exhibits fight back is a testament to his character more than anything else.) Battle of the Smithsonian actually gave me this idea, in discussing whether or not Kahmunrah's wild scheme of world domination could actually be pulled off, but in truth, the aspects of power corrupts dealt with in the film itself are the consequences. Someone raised in a powerful family who, because of this and because of perceived or real favoritism shown toward his younger brother, comes off as a spoiled brat at first glance, has been corrupted by being raised in a powerful family, and that carries through into the aforementioned scheme. His family raised him the way he is, intentionally or otherwise, and he carries that through to the logical conclusion (in his mind), wherein he simply takes what he thinks he deserves. Admittedly power isn't the only corrupting force, but it's certainly there.
It can also be said that power corrupted Larry. He became a successful businessman after leaving his job at the museum, and though he's dissatisfied with his life at this point, he keeps at it because "Cool doesn't pay for [Nicky's] Guitar God VI or whatever." He's reached a point where he values the outward signs of success more than actually feeling like his life has meaning and worth, which can be said to be a form of corruption. Jed picks up on this as readily as anyone, but since Larry does still visit the exhibits, Jed reasons that Larry isn't too far gone. He doesn't misinterpret, as Larry does still come to their rescue and come around to his true calling (once again) of being a night guard in a magic museum.
And then there are the subtle bits of symbolism, especially regarding the Gate of Kahmunrah and the Tablet of Ahkmenrah. The gate is large, garish (and perfect for a haunted house, but that's something else), and a statement in and of itself, but it's inert without the tablet. The tablet, on the other hand, is small and can act independently of anything else, but it requires outside help for anything "higher" (for want of a better word) than the "parlor trick" (courtesy of Kahmunrah) of bringing exhibits to life every night. This is discussed in relation to the brothers' relationship with each other here, but they both serve as very good representations of the brothers with whom they are now associated. Kahmunrah, the proud and grandiose one with an obsession for bringing his army back from the land of the dead, is represented by the appropriately decorated, gigantic structure of the gate. Ahkmenrah, the emotionally repressive diplomat, is represented accordingly by the tablet, which does its job just fine on its own just as he does but requires help to reach any deeper level of understanding/utility.
If you choose to ignore the central anvil message, then you don't need to turn away from these movies entirely. There are plenty of other interesting messages/speculation fuel to keep you interested; the themes discussed are just two.
Next on "For the Love of Night at the Museum": I start posting my videos from LJ over on this blog.
Countdown: 352 Days to NATM 3
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