The Dark Knight Rises (review)

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The trilogy has a spectacularly epic ending, but that's not to say that the film is flawless. Nolan ups the stakes and adrenaline for his sensational, climatic conclusion and yet this film falls short of its predecessor's dramatic intensity. The plot lacks clarity, that's for sure, but that would be of no noticeable significance had they employed a great villain. Bane is utterly inadequate, and when compared to the ingenious creation that is the Joker, well, the comparison just adds insult to injury.

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In case you have not completely grasped my point, I hate Bane. He is by far the least intriguing Dark Knight villain; he is outright crude, soulless and inhumane. There can be no true despair without hope seems to be Bane's motto and, no doubt, his most thoughtful and memorable line. It is my favourite line, regardless of Bane's irksome voice, because it resonates the depth and darkness of the story. Only if the same concept was applied to the characterisation of the antagonist, for a truly fearsome villain is one who can draw empathy from the audience; it is most frightening to see our hidden darkness morphed into a maniacal killer. That is why the Joker is the supreme villain, he rivals Batman's genius - the clown with the harsh, pain-ridden laugh is the portrait of Bruce Wayne's capabilities, should he ever be forced into a hopeless, lonesome corner.

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Bane is physically intimidating, and matches Batman's brute strength. Unfortunately, his mask robs him of any humanity or persona for that matter, he is a mere lump of meat that can crack necks and detonate bombs. Tom Hardy does well with his emotive eyes, but they fail to enthrall me. I can't believe I am saying this, but a more charismatic actor would have proven efficient. I don't want to name anyone in particular because fan-boys will track me down and spear me, but I would have preferred an American accent. Whilst Batman's deep voice is engaging and contributes to the overall character of the seemingly invincible and limitless hero; Bane's voice only illustrates the savageness of his character, the attempt at poetic shades convinces no one, and the voice itself infuriates me. I would gladly view the film a second time, but that means I would have to endure the atrocity, that is Bane, again.

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However, that is a sacrifice I am willing to make, because to say that the film does not deliver an adequate antagonist by the denouement would make me a liar, and I am no liar. Ha ha oh hee hee ha ah ooh hee ha ha. Whilst the Joker's ingenious traps are superior in both elegance and dramatic involvement, mostly because the villain himself is entirely enticing, Bane's scheme allows for the greatest, climatic hour in the history of cinema. Once passed the clumsy and murky exposition, the film launches at an intensely swift pace and sweeps the audience off its feet. Nolan's action sequences are only, as per usual, the very best.   

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One of the most flashy and cool aspects of Batman is his gear, and the sight of the batmobile flying past skyscrapers completely blows me away. No terrible pun intended. Whilst the cinematography does not match the technical perfection of Prometheus, no one cares, because witnessing the batmobile glide across a night-sky lit by skyscrapers or watching it athletically dodge relentless missiles really do add to the out-of-this-world experience. 

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 Catwoman roaming Gotham with the Batcycle is yet another sight that excites; oh yes, Anne Hathaway makes a fine Catwoman. She plays the role with a playful sensuality, but also oozes intelligence; the character is caught between self-interest and Gotham's interest. Hathaway portrays this moral conflict effortlessly, with those sparkly eyes, she projects the guilt that is consequent of either choice. With a simple close-up, we can sense her dilemma, Batman or me? Bravo.

  Our other femme fatale is the radiantly gorgeous Marion Cotillard, who plays Miranda Tate. She is introduced as a rather different board member of Wayne enterprise, and from the get-go, we know that there is more to her than meets the eye. I find her very convincing in every aspect of her role, but as her screen-time is limited, I couldn't observe all the nuances of her performance. Hence my desire for a second viewing.

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Of course, my greatest motivator for a second viewing is the sensational climax that has an incredible running time, probably something along the lines of sixty minutes. To maintain the intensity and adrenaline of such a climax for that period of time is nothing short of legendary, this is why, regardless of a feeble villain, this film should still be a strong Best Picture contender. The film itself is the climax of the trilogy. We're all aware of Nolan's talents as a visual story-teller, his broad vision allows the audience to absorb the story from every angle; this, coupled with the grand scale of the explosions and toys, delivers the best possible chase scenes. The story may lack clarity- fault the disruptive flashbacks and the somewhat incomprehensible dialogue- but the action scenes are as resolute as possible. 

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To match the magnificent scale of the film, Hans Zimmer's marvelous score draws the audience and thrusts us into the war zone. The intensity is further kept alive by the fantastic cast, Gary Oldman and Joseph Gordon-Levitt have yet to be praised. Any viewer of the trilogy, that is basically every human-being, will know of Oldman's role as Commissioner Gordon - he brings an authoritative aura that grants hope to viewers. This hope is sustained by Levitt who plays an enthusiastic, passionate and orphaned young man who happens to be a great cop, in many ways, he is Gotham's white knight. Michael Caine, the butler, is not in the midst of the chaos, but without him the neat and satisfactory denouement would have been impossible. His spotlight belongs in the quiet, and reflective scenes that forebode the waves of destruction. Is there any point in praising Morgan Freeman who is a delight to watch in his role as Lucius Fox, the man who brings the awesome toys? Producers constantly ask him to play GOD for a reason, and you know it. 

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Now, finally, to the man of the hour - Christian Bale. As I have expressed on numerous occasions, Bale is THE BATMAN, he is the best that we have had, and probably the best we will ever have. He is greatly attractive and has no problems filling the shoes of the muscular genius, billionaire playboy. Of course, times have changed and he is not quite a billionaire or a playboy anymore, but I'll let you see the film without spoilers. There's a particular close-up of his masked face that shows his eyes filled with tears and despair - showing a definitive sort of pain; this simple shot gives us a complete look at his humanity. This is something Hardy couldn't do. Thinking of that shot, "Batman is no one and is everyone" resonates in my mind. So, whilst the series has lost its perfect villain, it still has - at its beating heart - the hero.

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P.S.  I was hoping for this film to usurp Prometheus as my favourite 2012 feature, but... perhaps a second viewing will settle the matter. Love y'all.