The Dark Knight Rises (2012)
Let’s be honest, The Dark Knight Rises movie was never going to meet fan expectations after the high-water mark between superhero movie and crafty crime thriller that was the pop-art masterpiece, The Dark Knight. Whatever director/co-writer Christopher Nolan put together was fated not to match the pulpy big blockbuster alchemy that he worked so well in 2008. Minus Heath Ledger’s instantly iconic performance, a role that set the film on fire whenever he was onscreen, there is going to be a certain void to this capper to the trilogy. Now having seen the movie twice, including once in sphincter-rattling IMAX, I feel that I can truthfully state the most obvious: The Dark Knight Rises is not as good as the previous movies. While a fine finale for an ambitious series, this is definitely the weakest movie of the trilogy.
It’s been eight years since Gotham City last saw the likes of Batman. Bruce Wayne (Christian Bale) is an older man, hobbled by age, and living as a recluse in his mansion. His trusted friend and butler Alfred (Michael Caine) keeps encouraging Bruce to seek a life outside that of Batman. In those eight years, Gotham’s police have cracked down on organized crime thanks to the Dent Act, a law named after the late district attorney Harvey Dent (a fallen idol that only a handful know the real truth about). Commissioner Gordon (Gary Oldman) is growing sick with the secret of Harvey Dent and looks to retire from the force. Miranda Tate (Marion Cotillard) is a businesswoman eager to restart Wayne’s clean energy project, and a woman interesting in getting Bruce back on his feet. There’s also Selina Kyle (Anne Hathaway), a.k.a. Catwoman, a master thief who gives Bruce a new challenge. But then along comes Bane (Tom Hardy), a master terrorist and figure of brute strength. His goal is to fulfill the League of Shadows’ plan and destroy Gotham City and expose its rampant corruption. He sidelines Batman and takes over the city, unleashing criminals and hordes of the downtrodden upon the wealthy. There is no escape from Bane’s plan, his wrath, but Bruce Wayne must rise to the occasion and be ready to sacrifice the last of himself for the people of Gotham.
Firstly, Bane is no Joker. The bad guy lacks the fiendish charisma of Ledger’s Joker and he’s not as well integrated thematically into the movie. The Joker was an anarchist that wanted to tear down the pretensions of society and watch people “eat each other.” And we watched a city come unglued. We explore the notion of escalation and what the blowback would be for a man fighting crime in a costume. With Dark Knight Rises, Bane wants to take up the mantle of Ra’s Al Ghul (Liam Neeson) and wipe Gotham off the map. He’s got moments of being a master planner but really he’s just a big heavy. He’s the big tough guy that beats up old man Bruce Wayne, and Bane is continuously diminished in the film as it goes. A late revelation with the character completely diminishes his role and turns him into the equivalent of a mean junkyard dog. His big plan is simply to rile up the masses and wait for the inevitable. Hardy (Bronson) is a great actor prone to mesmerizing performances. This isn’t one of them. He’s super beefy but the facial mask, looking like some sea urchin, obscures half his face. It’s all physicality and eyes for his performance, along with very amped-up dialogue that you can tell was rerecorded after filming. Every time Bane speaks it’s like he has a speaker system installed in his face. And then there’s the matter of his sticky accent, which to me sounds like German mad scientist but to my friends sounded like drunken Sean Connery.
Bane keeps espousing about the corruption of Gotham but you really never get a strong sense of what that corruption has lead to. Catwoman talks about the Gotham elites living large while the rest of the city struggles; but rarely do you get a sense of this. So when Bane flips the tables, and the elite and wealthy are stripped of their decadence and put on trial by mobs, it feels improperly set up. Just because you have characters talk about wealth disparity and the city’s corrupting influence doesn’t mean it’s been established. Nolan’s Batman movies are a reflection of our modern-day anxieties in a post-9/11 world, so I wasn’t surprised to see a society rotting away from the sociopathic greed and wanton excess of the 1%. But rather than serve up a wealth disparity parable of class conflict, the movie simply turns to mob rule, a far less nuanced and interesting dissection of current events and fears. It’s like the French revolution took a trip to Gotham City (Gordon even quotes from A Tale of Two Cities). It’s a society built upon a central lie, the idol of Harvey Dent, but the movie fails to make the corruption felt. In the end, this is all pretty weak social allegory. And would it have killed Bane to be a little more brutal to stock exchange short-sellers?
Then there’s the typical Nolan origami plot with the myriad of subplots intersecting. This is the first time in the series where the plots felt poorly developed. Rewatch Batman Begins or The Dark Knight, as I recently did, and you’ll see there is not an ounce of fat in those movies, not one wasted scene or one wasted line. Sure they got secret super ninjas and Katie Holmes, but those movies were well built blockbusters. I could have done without Bane entirely and certainly would have loved more of Catwoman. Hathaway (Alice in Wonderland) is terrific in the antihero role and brings a very interesting dynamic relationship with Batman. She may be the only person who understands him. I wanted more Catwoman, the movie needed more Catwoman, but alas she is just a plot device to connect Wayne to Bane. She has a larger role in the concluding melee but essentially becomes Batman’s reluctant wingman. The whole theme of the 99% vs. the 1% could have been generously explored with this character, and her spark and charisma would certainly be enough to get Bruce Wayne out of bed again. Then there’s the regular cop (Joseph Gordon-Levitt) doing the unheralded good deeds that so easily get overlooked. Here is an interesting character that, due to some leaps in logic, connects with Bruce Wayne on a unique level. He presents a counterbalance to all the souped-up superheroes, a recognizably regular human trying to do good. It’s then a shame that he gets entirely relegated during the third act so that the superheroes and their super toys can make some noise.
For a Batman movie there’s hardly any Batman in it. The caped crusader has been in retirement for eight years, so it takes some time before Bruce puts the suit back on. But then he’s also sidelined for a good third of the movie, stowed away in a far-off prison. The entire Indian prison sequence really could have been exorcised. It essentially becomes a Rocky training moment for Bruce Wayne to recover and a plot device to explain why there needs to be a time gap in the story. But this part of the movie just feels like it goes on forever, and we all know where it will go so we just keep waiting for the movie to get there. No one wants a Batman movie where Batman sits the middle out. The end feels relatively fitting but any fan of The Iron Giant will recognize some similar key elements.
And while I’m on the subject, let me do some estimates here. The timeline between Batman Begins and The Dark Knight is about a year, as the Joker notes to a congregation of mobsters. I’ll be generous and say that the events of The Dark Knight last two months. We learn that Batman never appeared again after the death of Harvey Dent, and now we flash to eight years later with The Dark Knight Rises. So you’re telling me that we only really got a solid year of Batman being Batman? That over the course of nine years he was Batman for only one of them? That’s very little Batman-ing for a Batman franchise.
But even with these flaws in tow, The Dark Knight Rises is still an exciting, stimulating, and mostly satisfying close to a trilogy of unprecedented ambition and scope for a modern blockbuster. The action sequences in this movie are huge and exhilarating. I loved Bane turning Batman’s armada of weapons against him. The Bat fighter plane is a nice addition that gets plenty of solid screen time. The sheer scope of what Nolan produces is epic; from a plane being hijacked in mid-flight and torn apart, to a city being leveled by explosives, to a face-off between a bevy of armored Batmobiles and the Bat plane through the streets of Gotham, the movie does not disappoint when it comes to explosive, large-scale action set pieces. This is also the first Batman movie where the climax is the best part of the film. The last half hour is solid action but also a fitting sendoff for a beloved character. Some will grumble with certain hat-tipping moments at the end, but I found it entirely satisfying. It all comes back to the central thesis of Nolan’s Batman films about becoming something more than just a man, becoming a symbol, and that symbol is meant to inspire others. By the end, you feel that the inspiration has been earned as so has our conclusion.
I want to single out Caine (Harry Brown) who has very few scenes but absolutely kills them. He’s the emotional core of the movie, perhaps even the series, and has always been hoping that his charge, Bruce Wayne, would never return to Gotham. He’s the voice of reason in the movie, the man that reminds Bruce about the costs of a life spent seeking vengeance and sacrificing his body. I wish Caine was in the movie longer but his scenes are pivotal to the plot, as is his absence.
The Dark Knight Rises doesn’t rise to the level of artistic excellence of its predecessors, but it’s certainly a strong summer blockbuster that works as an agreeable finale to the premier franchise of the era. It’s not quite the knockout we were expecting from Nolan but it still delivers where it counts. I wish it had give a fuller, richer portrait of a city corrupt from the inside out, a society rotting away and ready for revolution, and plus I also wish we had plenty more Catwoman and plenty more shots of Anne Hathaway in her Catwoman cat suit (Michelle Pfeiffer still has nothing to fear), but these are the things of dreams. Nolan’s aim has always been to place Batman in a world that is recognizably our own, and with that comes the responsibility of bringing a stolid sense of realism with all the blockbuster pyrotechnics. This artistic ethos has given us some extraordinary movies, though some Batman purists would object that Nolan’s hyper-realism is not the Batman they grew up with. It’s hard to really get a sense of the accomplishments that Nolan and his team has been able to pull off over the course of three bladder-unfriendly movies and seven years. He’s taken the superhero movie and redefined it, brought it unparalleled psychological depth and philosophical analysis, and given a human quality to what normally gets dismissed as escapism. The Dark Knight Rises isn’t as revelatory as its previous entry but it sticks the landing and puts to rest what is indisputably the greatest superhero trilogy of all time.
Now get ready for the reboot in three years.
Nate’s Grade: B
Posted on July 24, 2012, in 2012 Movies and tagged action, anne hathaway, batman, ben mendelsohn, christian bale, christopher nolan, comic book, gary oldman, joseph gordon-levitt, juno temple, marion cotillard, morgan freeman, sequel, super hero, tom hardy. Bookmark the permalink. Leave a comment.