Movie: The Dark Knight Rises
Rated: PG-13
In theaters: July 20
Pitchforks: 5 out of 5
When Christopher Nolan’s “The Dark Knight” was released in 2008, it was recognized by many as the epitome of a comic book inspired movie, and up until now nothing had lived up to its precedent in quality of character, dialogue, plot, spectacle and thematic vision. Surpassing such an accomplishment seemed insurmountable, but Nolan’s trilogy finale, “The Dark Knight Rises,” is an astonishing film that is superior to both “Batman Begins” and “The Dark Knight.” The movie isn’t perfect, with a couple of glaring scientific plot holes and lackluster dialogue coherency, but Nolan’s intense cinematic style, societal criticisms, outstanding writing and top-notch cast make “The Dark Knight Rises” a fitting conclusion to his vision, and the best Batman film yet.
Bruce Wayne (Christian Bale) is introduced on a shadowy Wayne Manor balcony hunkering with a cane as he privately observes Gotham City’s rich and powerful citizens celebrating the eighth-annual Harvey Dent Day. Commissioner Jim Gordon (Gary Oldman) speaks against repealing the Dent Act, a high-cost piece of legislation keeping organized crime off Gotham’s streets. For the past eight years, Bruce, instead of partaking in festivities and helping maintain the peace he diligently fought for as Batman, retreats from the world, becoming a broken, hollow and morose shell seen only by his tireless butler and surrogate father, Alfred Pennyworth (Michael Caine).
Bruce’s reclusive lifestyle ends after encountering the seductive cat-burglar Selina Kyle (Anne Hathaway) stealing his mother’s pearl necklace and his fingerprints. Alongside his intrigue about the master thief’s plan, is the rising threat of a villainous League of Shadows warrior named Bane (Tom Hardy), who seeks to achieve Ra’s Al Ghul’s vision of re-creating Gotham City through its destruction. After Bane isolates the city and “returns Gotham back to its people” via freeing prisoners, promoting looting and public hangings and trapping Gotham’s police force underground, it’s up to Batman, Commissioner Gordon and Officer John Blake (Joseph Gordon-Levitt) to fight against Bane and his mercenary army.
Outside of its societal critique about corporatism, “The Dark Knight Rises” focuses largely on how being Batman has imbued Bruce with mental and emotional fragility, and how his actions impact those around him. Through wonderful interplay between characters, coupled with Hans Zimmer’s stupendous score, the movie achieves a dramatic and touching height not seen in Nolan’s two previous Batman films.
Michael Caine’s stand-out performance is phenomenally powerful. The chemistry between Bale and Caine feels more realistic than ever, and the dialogue between their two characters is thematically appropriate. Caine’s slightest facial expression or altered inflection in his voice inspires emotional pangs, and resonates how much Alfred loves Bruce. Caine’s final few scenes are intensely soulful as he tearfully quotes the last lines from A Tale of Two Cities.
Tom Hardy’s portrayal of the tank-esque Bane is excellent, but the audience might miss his great acting while straining to make out what he’s saying. In consequence of his character’s mask, Hardy’s dialogue can frequently be incoherent. However, even though some of his words might not be decipherable, Hardy’s menacing eyes and meticulous body language convey the necessities about Bane: he’s evil and stronger, larger, smarter, and faster than Batman. Hardy’s subtleties are really impressive. Alas, no new Batman film will ever please hardcore “The Dark Knight” fans who will likely complain that this movie is dry in comparison, simply because Bane isn’t characterized like Joker. However, the characters are polar opposites, so for Hardy to portray Bane as flamboyantly as Heath Ledger did Joker would be abominable. The character’s non-action moments might not be as exciting and fun to watch as Ledger's, but Hardy gives an equally powerful performance.
On the other hand, Bale indisputably gives his finest performance since “The Fighter,” and wonderfully shows the mental and physical anguish his character goes through, making both Bruce Wayne and Batman relatable and accessible; a feat not achieved very efficiently in Nolan’s previous Batman films.
Hathaway is mesmerizing as Selina Kyle, and fits smoothly into Nolan’s universe. She beautifully encompasses the comic book character’s sex appeal, cunning, wit and fighting prowess. Unlike Michelle Pfeiffer’s portrayal in “Batman Returns,” Hathaway doesn’t only show Kyle as a minx thief with a heart of gold, but makes her feel very genuine and sympathetic, particularly when interacting with Bale.
Despite occasional problems, with stellar acting, an immense set and dramatic thematic style, “The Dark Knight Rises” offers a superb emotional and narrative finale to Nolan’s Batman world.
Reach the reporter at tdmcknig@asu.edu
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