‘The Dark Knight Rises’ (2012)
WARNER BROS.
DIRECTED BY: Christopher Nolan
STARRING: Christian Bale, Anna Hathaway
★★★★
It’s not really fair to jump on the paper minutes after
seeing a film for the first time. For the most part, a sense of closure and air
is necessary to take in what you just saw, to justify an appropriate and
conclusive review for the movie. This is definitely something to consider when
watching a Nolan film, and it stands in clear black-and-blue with his Batman
trilogy.
The first film, Batman
Begins, gave us an introduction to what can be possible with superheroes
given the right tools and realistic appreciation. The Dark Knight stretched the tools with some of the most
impossible villains in comic book history. And now the established finale, The Dark Knight Rises, has us
questioning how we pick up where we left off, and how to give justice to these
fantastic characters.
Alas, a mistake here and there, but anything can be forgiven with the
masterful conclusion Nolan has given to his famed trilogy. Strong
performances, fantastic characters, and visual spectacles overcome a
sometimes-confusing plot and mildly-satisfying conclusion.
The film begins slowly, with an introduction to Bane, an
introduction to Selina Kyle, and… well, a deadbeat from college, let’s call him
Bruce Wayne. Set 8 years after the events of Dark Knight, there is no mention of the Joker, but a stark reminder
of the hero Harvey Dent was made up to be. Commissioner Gordon is still shaken
up with the events between his family and Two-Face and refuses to sacrifice the
truth, despite the good Dent has done for Gotham. With Batman declared a wanted
criminal, Bruce has put up the cape and simply stood on the sidelines. He walks
with a cane, grown out a beard, and has made little contact with the outside
world or people. He’s really given up.
This begins to change as a masked being terrorizes not only
Gotham, but the reputation of Bruce himself. Soon after revealing an even bigger
plot to destroy Gotham, Bruce must return to the mask and become Batman once again,
criminal or not. This doesn’t go easily as planned, as Batman is beaten down
and broken once more, and the following events become a testament of what it
truly means to be a hero.
Though Christian Bale gives another great performance (if
not gravelly voice-acting) as Batman, it’s his performance as Bruce Wayne that
really shines. Bale gives a clean character arc as a confused and tired old hag,
overcoming again and again to return to his proper and former self. While it’s
to be expected from his third performance in the role, it’s the newest
supporting castmembers that were of most attention, and of most concern for me.
Seeing set photos of Anne Hathaway of Catwoman, her hair let
loose while under that tight leather, wasn’t selling it for me at first. After
seeing her grand introduction at Wayne Manor, however, it was clear Hathaway
was gonna be a looker throughout. She gave a performance with surprising spunk,
style, attitude, distaste, and fluidity. Yeah, I still wish her hair was at
least in a ponytail or something, but it felt like she knew her stuff as she
fought side-by-side with the Bat.
Next to Catwoman is Bane, and like Catwoman, a small,
trenchcoat-wearing thug with a mouthmask didn’t sell with me. And in a way, it
still didn’t… but there’s no denying the monstrosity of a voice he carries
under that mask. However, the real mystery is who’s side is he on. Let’s get
this clear: he’s a stone-cold killer. No remorse, no emotion, no identity, only
sarcasm and intimidation through a deafening English-accent. Every step he
takes continues to baffle whether there truly is a chance for Batman or any of
us. However, his actions send a revolutionary vibe that he stands for the
working-class; while he throw the wealthy and corrupt into the ugly streets of
Gotham, he still allows food and supplies to be sent to the trapped cops and
citizens of Gotham. He’s no Joker, but he’s an interesting terror to behold for
his demeanor.
John Blake, a young rookie officer for the GCPD, is played
by Joseph Gordon-Levitt, who’s really been taking off in Hollywood so far.
Seeing him in (500) Days of Summer
and 50/50, it was hard to take him
seriously with his uniform and Brooklyn accent. However, he grew on me as the
(only) cop with a plan, an aware and capable character who’s right to work
beside Gordon. Or even Batman, for that matter. In fact, that possibility is
stretched during the final moments of the film. How? Well, many comic fans will
notice how “John Blake” has a certain ring to it…
While the likes of Morgan Freeman and Gary Oldman reprise
their roles with exceptional results, Michael Caine is hardly given any room in
Rises as Alfred. However, what he
gives is much to be commended. While he walked side-by-side with Bruce in the
past, Alfred truly comes to care for the weary Bruce, challenging his will to
move past the heartbreaks and pain, and be the hero he trusts him to be. It is
a painful ordeal he doesn’t want to do to Bruce, but Michael gives flawless
emotion to the troubled man who’s made it this far to protect Bruce.
When not focused on the relentless script, Rises is a visual stunner the likes of The Avengers. Just like the climactic
battle of the six in Manhattan, the brawl between cops and crooks infront of
the symbol of American prosperity is an epic site to behold. The riveting score
Hans Zimmer has provided for the trilogy is still the most impactful and
powerful in this realm of superheroes, and the tech & costume design is once
again rooted to reality, making you forget at times that this is based on a
comic book franchise. Nolan returns to his mind-bending visual style with blocky
architecture, such as the Batcave and the prison well later in the plot.
With all this said, there are some questions to be had with
the relentless script. The first of which is the amount of air we’re aloud to
breath. The pacing never stops, which keeps you in the action, but is too much
to allow some moment to take everything in and anticipate the next move. The inclusion of other less-than-necessary characters doesn't help, either. While the main cast felt appropriate and just, the rest of the cast, from Selina Kyle's blonde friend, to the coward chief-of-police, to Bruce's business rival, just made for too many characters. Next
to this is some elongated exposition, and plotholes that can be forgiven, but
given the proper notice, are definitely questionable.
*SPOILER*
For instance, how does Bruce, the
world’s greatest detective, not regard the scar on Tate’s back as being that of
the League of Shadows? Just as the camera observed the scar during one
instance, it was clear she had connections. And with Liam making an appearance
as a ghostly Rah’Al Ghul, it was clear she was related to. This leads to a
stretched explanation of what happened years ago that led her to Bane, and to
harming the person she loved.
And it should be noted (from me)
that the very last moment of the film with Bruce & Selina making it through
Alfred’s proclaimed dream, was my take of Nolan going for broke. If I had the
decision, I would go the Sopranos route
and cut after Alfred smiles towards the screen. Since now we know Batman has
made it through all this time and basically renders the philosophical tone of
self-sacrifice fruitless, there’s no everlasting impact or mystery, only happy
closure. As if despite ‘closing’ the door on the trilogy, Nolan actually left
it ajar for somebody else. Maybe for Robin? Who knows now.
*SPOILER*
With these quibbles aside, the Nolan brothers have written a
powerful threequel (a feat for any filmmaker), one with strong and surprising
performances, solid environments and atmosphere, and an excellent score and
cinematography. While it’s easier to follow than The Dark Knight, there is still a lot of
chaos to soak in. And while the final revelation isn’t a throw-off, it
definitely leaves something to be desired. Here’s hoping this really is the final tale for the trilogy.
Because after numerous film iterations, Batman has finally been given his
just-dues.
★★★★
- Ant
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