Dark Knight Rises Review

Self-important and overstuffed, The Dark Knight Rises feels like Batman forever

The Dark Knight Rises

Christopher Nolan's ponderous, pontifical action movies are written less as screenplays than as operator's manuals, guiding an audience through assembling their important themes while scrupulously making sure you don't miss a thing. This is as true of Inception, with its reams of expositional walk-through, as of Nolan's superhero saga, now swollen into a trilogy in which the dramatis personae are always stepping up to identify themselves in statements of principle. All of the on-the-nose speechifying (scripted by Nolan and his brother, Jonathan) keeps the runtimes long, while the drum-tight rule of schematic relevance shuts out anything resembling wit, spontaneity and recognizable human conduct.

Billed as director Nolan's final contribution to the franchise he revived with 2005's Batman Begins, The Dark Knight Rises opens eight years after the events of 2008's The Dark Knight, eight years after the death of Harvey Dent, aka Two-Face, still honored as a hero through the print-the-legend contrivance of Commissioner Gordon (Gary Oldman, returning), and eight years after the villainized, fugitive Caped Crusader was last sighted in Gotham City, which has settled into a fragile peace.

Bruce Wayne (Christian Bale) has hung up his Batman suit and become a Howard Hughes–like recluse, only lured into the world again by a couple of women: a socialite investor in Wayne Enterprises' clean-energy programs, Miranda (Marion Cotillard), and a cat burglar who penetrates his sanctuary, Selina (Anne Hathaway, repeatedly proving the "No-fun" Nolans' ability to make comic-relief one-liners fall flat amid their sepulchral, master-builder cinema).

The overarching theme of the Batman films is the moral problem of vigilantism, as played out by name-tagged figures of virtue and vice. "The idea was to be a symbol," Wayne says of his anonymous alter ego in The Dark Knight Rises — and so this most solemn of superhero franchises duly marches ahead with the process of ominous signification, having established itself among those who accept its self-regard at face value as not just another blockbuster but the multiplex State of the Nation for the 21st century.

If The Dark Knight openly invited interpretation as the War on Terror Batman, then The Dark Knight Rises, whose creators obviously scented the class discontent in the air, is the Occupy Wall Street installment. "You think all this can last?" down-and-out survivor Selina says upon meeting Wayne at a fancy-dress masquerade ball. "There's a storm coming."

That storm breaks in the form of the living incarnation of have-not rancor, Bane, played by the hulking Tom Hardy, face indistinguishable behind the ventilator apparatus clamped over his mouth. The visage will remind many of the unmasked Vader, though his fruity, magniloquent purr is closer to Vincent Price talking through a window fan.

Bane was "born and raised in hell on earth" — a pit prison on the other side of the world. In order to punch in Bane's weight class, the softened, fresh-out-of-retirement Wayne first will have to join the 99 percent, eventually enrolling in the same Third World school of hard knocks that spawned his opponent. Training in dismal, prehistoric conditions trims away the fat of techie decadence and reinvigorates Wayne's sense of the ethical obligation of privilege. If this sounds familiar, it's because Wayne did a similar piece of slumming in Batman Begins. It is also the theme of Rocky IV.

As in The Dark Knight's conflict between Wayne and the Joker, Order versus Anarchy, the face-off between Wayne and Bane is a dialectical battle between personified concepts. Wayne is Gotham City's philanthropic chaperone; his company develops technologies with great potential for help and harm, which Wayne then keeps away from a polis that he protects without trusting. Bane is, in posture at least, a radical revolutionist, setting himself up as the champion of the disenfranchised, though it is difficult to imagine who would be seduced by his tactics or his plan "to return control of the city to the people," followed by the neutralization of law and order and the foundation of a Gotham Commune.

For the Nolans, it is characters who voice seemingly utopian goals such as "restoring balance to the world" of whom the most is to be feared. And while The Dark Knight's climax hinged on finding faith in the common man's decency, upon witnessing the goings-on in Occupied Gotham, it is impossible to imagine this revolution accomplishing anything decent — the citizens tribunal kangaroo court, a fantastic production design flourish by Nathan Crowley, is Reign of Terror by way of Kafka, while a parody of the Bastille is played out before Blackgate Penitentiary.

The Dark Knight Rises is not a reactionary movie outright — it would be more respectable if it were — but only on a villainous technicality. The perpetrators of the city-upending mutiny have no interest in a new order, only in seeing Gotham purged in blood with a rote ticking time bomb, an apocalypse that precludes the possibility of revolution either failing or succeeding on its own terms.

The Dark Knight Rises is a shallow repository of ideas, but as a work of sheer sensation, it has something to recommend it. At two hours and 45 minutes, it's no fleeter of foot than its plodding predecessors, but Nolan has continued his experimentation with the IMAX format, and the sheer mass of what he has constructed inspires a dull awe — it is impossible not to be cowed by a film that's five stories tall while Hans Zimmer's stampeding orchestra tramples you.

As throughout the Batman films, Nolan is at his best symphonizing second-unit footage, illustrating how the shock waves of an assault resound across the infrastructure of an entire city, a coordinated attack on Gotham's pressure points being a particular highlight here. (The city is composed of bits of Pittsburgh and Los Angeles, with New York City for establishing shots, including a half-complete new WTC tower available for suggestive effect.)

The history of Batman's burden is, however, increasingly cumbersome, and it's Mr. Bane who finally makes the pertinent point: "Gotham is beyond saving and must be allowed to die."

THE DARK KNIGHT RISES | Directed by Christopher Nolan | Written by Jonathan Nolan and Christopher Nolan | Warner Bros. | Citywide

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3 comments
MikeMarks
MikeMarks

I viewed the The Dark Knight Rises midnight show... what I saw through my paradygm... "The Dark Knight Rises" is a metaphor for "The People Rises."

Its morality plays out in a Gotham that is a modular Earth: Manhattan Island, its tunnels and bridges cut off, isolated from the rest of the world. The film directly references Wall Street. It depicts the consequences of maintaining an "us and them" divide between "Occupiers" and "law enforcement."

Real time, even the U.N. is noticing that divide occurring, with a $4.6 million encouragement to NYPD courtesy JPMorgan, in NYC and elsewhere.

While the first movie in the trilogy depicted corruption in the police department, the second set up the hope and inspiration that cured that corruption. The third reminds us that many police officers are, as consistently portrayed throughout the series by Commissioner Gordon, good, brave men, gentlemen intending to protect and serve. When they are removed, nearly the full force trapped in tunnels beneath the city, ordinary citizens are encouraged, by the mumbled blah blah ranting of villain Bane, to see and seize their freedom from law.

Speaking through a mouthpiece in his mask that distorts his voice, it is only at this point that Bane’s diction becomes something other than "I’m straining uncomfortably hard to make out what he just said." Perhaps that was Nolan's artistic choice since, like Orson Welles reading the phone book, like particular politicians at the pulpit, Bane utters, with Shakespearian elegance, crocks of shit hardly worth making out.

In their glee for freedom, the ordinary citizens encourage themselves to not see the new law of Bane’s thumb on their throats. Fed up with the rich, they invade homes and toss the wealthy onto the streets. As in days of the Fool King, they hold mock trials where they judge and sentence the wealthy, and the remaining untrapped police officers, including Commissioner Gordon, to exile and death upon the thin ice surrounding the island. Thus the movie depicts a version of Anarchy winning out, while only suggesting, to the imaginative, the consequences of the alternative, the Police State, winning out. Either scenario winning out would prove undesirable for Joe Public, but would serve Joe Public's mutual enemy... a League of Shadows that every citizen must make a stand against... because every citizen matters.

A character like Batman makes a strange Joe Public. But Bruce Wayne, stripped of his own wealth and physical health, gets much more screen time than Batman. Presumably years of superhero activity has worn the cartilage from his joints, the death of loved ones has crushed his spirit, and Catwoman antics upon the fingerprints of his apathy has left him penniless. Even as he takes a final gasp to rise, Bane breaks his back and leaves him imprisoned in the pit of his childhood well.

Finding what is important enough to raise ourselves from that pain, despair and hopelessness, is the thick story that plays upon the backdrop of rich and poor, war and wall obstacles. There is a wall to scale that can only be accomplished with the full commitment of abandoning the net. To trust what has killed you will not kill you again. To give all that you can give and then to rest, knowing you have inspired the good you’ve seen in others to carry on.

This movie’s premier was marked with real time tragedy. Should we make a blanket statement of "man massacres audience/movie bad?" The shooter may very well be a kid with a loose screw, even one whose screw unwound via engaging with violent media. Yet, in this world that we all know contains, at the very least, "secret shoppers," is it too much of a stretch, too comic booky to consider, that it also contains "secret operatives" being, or employing, "catcher in the rye screwdriver" types? Idealistic influence via artistic ability, to maximize counter consciousness in our culture via whichever movie genre may catch large audience attention, is one of the few weapons we have against the psychopaths pulling our murderers' strings - the shadows without a mask - the Bankman.

Am I missing the compassionate element of the massacre? I personally know what it is to lose a teenage son. Among things I learned from my own tragedy is that there is time required to cry the tears to settle the soul, and to learn to cherish more what was once had, rather than solely miss what is now gone, so sadness may be a sweeter sadness with memories sweetly recalled. The world doesn't necessarily cooperate with giving us that required time when we want it. Sometimes, even while there are tears in our eyes, there is work that can not be delayed or dismissed.

Barry Levy
Barry Levy

2 hours and 45 minutes. Sounds like Batman will get a nice first weekend, and will sink very quickly.

 

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