As Gotham City steps into a new era, the sins of the past
continue to haunt Jim Gordon and Bruce Wayne.
Eight years ago, they engaged in a cover-up that required the Batman to
become a fugitive from justice. The
caped crusader hasn’t been seen or heard from since. Gotham is now a crime free utopia thanks to
the Dent act, an aggressive crime bill named in honor of slain district
attorney Harvey Dent. In the wake of its
success, Gordon is now seen as a relic of the past, and Bruce Wayne has given
into despair.
Since hanging up the cape and cowl, the billionaire playboy
has become a reclusive cripple. However,
a chance meeting with a lovely and exceptional thief named Selina Kyle coaxes
him out of a self-imposed exile. He puts
his detective skills to work, and discovers Ms. Kyle to be a cog in much larger
machine. Sitting at its controls is
Bane, a fearsome terrorist leader who means to raze Gotham City to the ground. Once again, The Batman is needed. Can Bruce rise up from the depths of despair meet
the challenge that lies ahead?
The Dark knight Rises
is the long awaited conclusion to Christopher Nolan’s “Dark Knight Trilogy.” It easily dwarfs its predecessors in terms of
size and scope, showing itself to be the most ambitious of the three. That ambition, like so many other elements of
the film, proves to be a double edged sword.
On the one hand, it liberates the film from the conventions of superhero
cinema. On the other, it proves to be an
albatross. The film bears the weight of this
self-imposed burden while valiantly pushing onward towards the finish line.
With each successive entry of Nolan’s trilogy, the setting
and production design have expanded to accommodate his vision. The city of Chicago featured prominently in
both Batman Begins and The Dark Knight. Its criminal lore greatly informed the plot
of the latter, which was clearly inspired by The Untouchables. In the Dark Knight Rises, the windy city has
been supplanted by Pittsburgh, New York, and Los Angeles.
There are obvious parallels to the former during the Guiliani
administration, which ties into Nolan’s ongoing allegory to the war on terror. Just like New York City in the weeks and
months preceding 9/11, Gotham basks in the possibilities of a brighter
tomorrow. Those hopes are dashed with
the emergence of Bane.
Nolan and his cinematographer, Wally Pfister, have applied
some much needed discipline to their visual style. The shots are steadier than ever before,
resulting in a strikingly epic look. Unfortunately,
the newly stationary camera proves to be both a blessing and a curse for the
film’s fight choreography. The Batman is
revealed to be an unimaginative night brawler, relying on haymaker punches and the
like. While this is a bit frustrating
from an aesthetic standpoint, it is admittedly consistent with this particular
iteration of the title character.
Bruce’s fighting style seems to grow out of his own bullheadedness.
That little nuance comes into play during Batman’s
confrontations with Bane. The character
is the living embodiment of physical intimidation. The cinematography, coupled with the costume
design and Tom Hardy’s bulked-up physique, create an undeniably menacing presence. The vocal effects applied to Tom Hardy’s voice
make him sound like Darth Vader. He even
seems to have affected Sean Connery’s Scottish accent. During his monologues, he takes on the air of
a brutal ringmaster. While effective, he
feels a bit incomplete when compared to the likes of The Joker and Rha’s Al
Ghul. One never gets a clear idea of
what his long term plans are.
The screenplay incorporates elements of such well known
story arcs such as “Batman: The Dark Knight Returns,” “Knightfall,” and “No
Man’s Land.” It also remains doggedly
true to the core themes established in Batman
Begins and The Dark Knight. As a result, the film often feels overstuffed
and disjointed. It bursts at the seams
with ideas, sometimes threatening to buckle under its own weight. The doomsday scenario established in the
final act feels abbreviated. Matters are
not helped by Nolan’s tendency toward obvious symbolism. Still, his dedication to his vision sees the
film through, consequences be damned.
Nolan’s dedication is mirrored by the principle cast. Catwoman is nicely implemented into the pseudo
realistic universe he’s created. Her
inclusion is handled with a certain modicum of restraint. Her origins are not explored, and no
explanation is given for her considerable skills. Like Heath Ledger’s Joker, she simply is. As always, Michael Caine provides the films
emotional core, proving to be the sole “voice of reason” in Bruce Wayne’s
world. Christian Bale’s incessant
brooding instills a certain level of sympathy for the title character. We want to see him succeed, despite the fact
that he isn’t much fun to be around.
When looking back on The
Dark Knight Rises, there are many parallels between Christopher Nolan and
Bruce Wayne. Both men are visionaries
with limitless resources at their disposal, and they both exhibit a dogged
determination that ultimately pays off. They
paint themselves into a proverbial corner, yet are able to defiantly fight
their way out. Having reached the
inevitable end game, Nolan’s vision is now complete. The
Dark Knight Rises doesn’t quite barrel through the finish line as expected,
but it still emerges triumphant, and wearing it’s battle scars with pride. To an extent, it succeeds in spite of itself.
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