I’m not ready to jump on the bandwagon of The Dark Knight Rises. Before I get
labeled a hater or someone who badmouths Hollywood movies for the sake of it,
let me point out I was a big fan of both Inception
and The Dark Knight. It is true I
dislike most big budget action films, but not for the sake of setting myself
apart from the masses. It’s because they are so often so bad. The world was
geared up to love The Dark Knight Rises.
It’s been built up immensely. Everyone – not just Christopher Nolan and Warner
Bros. – has significant investment in its success. If you hate the third part,
what does that say about your love for the first two? We are primed to enjoy
this final chapter in the trilogy. I’m afraid my primer didn’t take.
In a nutshell, The
Dark Knight Rises is an incoherent mess crushed under the immense weight of
constant exposition. Inception
suffered from a lot of expository dialogue, but I found myself so overwhelmed
by both the action and the emotional elements of the story that I didn’t really
notice. This Batman lacks the
emotional heft of any of Nolan’s previous films.
I remember having the strangest sensation throughout most
of Inception – a feeling that I was
always waiting for the film to slow down and the story to begin. I had exactly
the same sensation with The Dark Knight
Rises. It’s a feeling that comes from Nolan’s breathless direction and Lee
Smith’s editing. Most movies contain several opening scenes that set up and
explain the background and the action. This usually lasts about fifteen minutes
after which the film settles. Nolan’s films (the recent ones anyway) don’t ever
settle into a groove. They jump haphazardly from one scene to the next, each
one containing characters explaining events to each other. Two and half hours
of this grows tedious. The big final battle is not immune as the exposition
continues to flow, dutifully keeping the audience well informed as to the order
of the on screen chaos.
The confusion stems from a glut of under-developed
characters that Nolan has built into the story. Having already populated the
first two films quite heavily, he finds it necessary to combine new character with
old ones. Even the deceased Harvey Dent (Aaron Eckhart) gets a cameo and more
than a few lines of dialogue explaining – once again – who he was and where he
is now. Look, there’s the guy with the half-burnt face from The Dark Knight. I thought he was going
to become the villainous Two-Face. I guess Nolan wrote him out of the
storyline. Gary Oldman reprises his Commissioner Gordon; Michael Caine is here
again as Alfred, Bruce Wayne’s butler, housekeeper and moral compass; Morgan
Freeman returns as gadgets man Lucius Fox; Cillian Murphy as Dr. Crane gets a
gratuitous cameo near the end; the specter of the dead Rachel hangs over Wayne’s
decisions. Even Liam Neeson reappears briefly as Ra’s al Ghul because Bane,
this film’s primary villain, is intent on carrying out his plan to burn Gotham
to the ground – penance for its unforgivable decadence or some such hokum.
The new characters include Marion Cotillard as a Wayne
Enterprises board member and environmental do-gooder; Joseph Gordon-Levitt as a
beat cop with a soft spot for orphans; Matthew Modine as a feckless police
captain; and Anne Hathaway as the amoral thief Selina Kyle aka Catwoman.
Unfortunately the majority of her character development – what might have been
one of the more interesting supporting players – is left out. This Catwoman isn’t
so much an alter ego as it is a description of her cat burglar reflexes and
style. Finally, in an attempt to reunite the entire cast of Inception, Tom Hardy plays the masked
Bane. He is probably the most formidable villain Batman has faced in any of the
seven feature films. As a former member of the League of Shadows, he is as
strong and adept at hand-to-hand combat as Batman. He is made all the more
frightening by a mechanical face mask that alters his voice into a low rumble
reminiscent of Darth Vader. I must admit it was difficult to impossible to
understand him at times.
Nolan’s biggest problem as a writer as he’s become more
and more of a box office dynamo is to confuse complexity with quality. He
constructs a dizzying plot line that requires holding multiple facts in your
head at once while you constantly reexamine and re-evaluate as new events occur.
It makes for a largely unsatisfying movie experience. Maybe most people get so caught
up in the visual effects, action sequences and wall of sound that they barely
notice the gaping plot holes. And yes, the effects are spectacular in the sense
that they turn the movie largely into spectacle rather than enhance the story.
I admire Nolan’s insistence on avoiding a lot of CGI or at least employing it
in a way that I can’t always tell it’s CGI (the notable exception being
helicopter shots of Manhattan with New Jersey, Long Island and the Empire State
Building erased so it can double for the fictional Gotham).
I love Wally Pfister’s cinematography that gives this
Batman series a dark and sinister hew. They make Gotham a city cast in shadow
waiting to be saved. And I like how Nolan tries to frame this comic book yarn
in such a way that it’s as if it takes place in the real world. There are no magic
tricks or super powers. Though I thought Hathaway’s character a little thin, I
like the contrast with Tim Burton’s depiction of Catwoman, who was
supernaturally transformed into something part feline.
I just don’t think Nolan is a creative enough writer to
effectively pull off such a complex story. And the director in him doesn’t
trust himself to linger on anything. All that wonderful atmosphere goes to
waste when handled by a man that doesn’t allow his audience any time to soak up
what he offers up.
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