> REVIEW
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The Dark Knight Rises (2012)
The legend ends…
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By Simon Francis | July 2012
DIRECTOR: Christopher Nolan
WRITER(s): Jonathan Nolan / Christopher Nolan (story/screenplay) / David S. Goyer (story)
Christopher Nolan brings his much celebrated superhero trilogy to a close with The Dark Knight Rises; a series of films so far removed from their comic book roots, it seems almost unfair to associate them with the same genre as Captain America and co. Nolan’s definitive trilogy offers a substantially more realistic approach to the gothic avenger who calls himself ‘the Batman’. However, following the unparalleled success of The Dark Knight, has Nolan set his own bar too high and are expectations too great for the most anticipated summer blockbuster in recent memory…
The film picks up eight years on from The Dark Knight. Bruce Wayne (Christian Bale) resides in the dark corners of Wayne Manor, detached from society, consumed with bereavement and guilt for his lost love Rachael Dawes and the tragedy that befell Gotham’s White Knight, Harvey Dent. Now a recluse, Wayne walks with a limp due to years of physical abuse and provokes Chinese whispers between the classes with tales of long fingernails and facial disfigurement.
The truth is that now the streets of Gotham are safe, Batman is no longer needed and thus Wayne struggles for purpose. It is not until an unfortunate chance encounter with Selina Kyle (Anne Hathaway), a.k.a. Catwoman, which triggers his instinct to delve, once more, and investigate the arrival of a new threat, Bane (Tom Hardy); a powerful, hulking mercenary whose army hides in the shadows of Gotham’s sewers and has every sinister intention of destroying the very fabric of society.
Nolan gave the Batman character a much needed new lease of life with his intention not to make his hero super at all. Yet, while he kept the first two instalments grounded and true to reality, it seems with The Dark Knight Rises that he has decided to have a little fun. Images of ‘The Bat’ (plane) weaving in and out of skyscrapers and other such delightful gadgetry offers a cute reminder that above the familiar universe that Nolan has created lurks a character not completely severed from his roots.
With that come the villains of the piece and, no easy feat, following the success of Heath Ledger’s definitive incarnation of The Joker in The Dark Knight, however, a somewhat bold decision to present Catwoman pays off, as Hathaway gives a believable and seductive performance in the slinky black cat-suit which rivals Michelle Pfeiffer’s turn in Tim Burton’s underrated Batman Returns (1992).
The monstrous Bane (Tom Hardy) is a character who has been rewritten and introduced as a significant part of Batman’s destruction and rebirth. Based on the story published by DC Comics titled Knightfall (1993) in which Bane breaks Batman’s back, Nolan introduces a villain who proves a worthy, physical adversary for the Batman, although it is difficult to pin point what truly motivates his desire to destroy Gotham, while the highly criticised muffled speech adopted by Hardy throughout does prove an unwelcome distraction.
With TDKR Nolan touches on a more emotional element with the story and strives to make you feel for the character of Bruce Wayne. Bale gives a very honest and humble interpretation of the billionaire playboy. A man who relives his parents’ death and reforms back to a childlike state after the loss of his true love, walking with a cane is not only symbolic of his physical frailty but also his mental state, and it’s apparent that Nolan wanted a deeper perspective into the psychological strength of a man who commits his life to protect others.
Teaming up once again with his brother Jonathan Nolan and superhero vet David S. Goyer, the extended, at times overly plotted narrative attempts to come full circle with its thematic ties to Batman Begins, and even without the irreplaceable hijinks of The Joker, it’s a story that revels in the theatrical, with heightened humour proving a welcome relief to some of the more intense, and expositional set-pieces.
Much like TDK, Rises also suffers from a second act slump as our hero finds himself locked away in a prison appropriately referred to as ‘Hell’, while irritating plot holes are peppered throughout. But such is the commitment of the all-star cast and the sheer, almost overwhelming spectacle of the IMAX visuals, that it becomes easy to absorb and forgive such transgressions.
With that being said, Nolan really has gone all out in terms of set-pieces. With the city at war, the final act consists of a monumental battle which arguably only Nolan could execute with both heart and intelligence. While the somewhat controversial ending offers hope of future re-visitation, the Batman’s arc feels rightfully, and satisfyingly complete.
Script…………………………………………………………………………………………….
Ambitious, sprawling, flawed, this is arguably the Nolan’s [and co] least focused
entry in the trilogy in terms of structure and execution. The introduction of too
many new characters distracts rather than elevates, but when it does click, such
as the slick opening and closing acts, it remains a firm cut above the average
blockbuster. 3
Direction………………………………………………………………………………………..
Christopher Nolan throws every single cent at his spectacular closer to his
triumphant Dark Knight Trilogy, and his single minded direction is more hit than
miss, even if it is lacking the energy of previous instalments. 4
Verdict…………………………………………………………………………………………..
It may not be as effective as The Dark Knight or as disciplined as Batman Begins,
but Nolan’s interpretation of the Batman legend comes to an epic conclusion
with a memorable and worthy trilogy arc. 4
