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Why The Dark Knight Rises Fails. Let me start by saying that I’m glad if you like The Dark Knight Rises. I wanted to. I wrote a book about Batman Begins. I love The Dark Knight, and its ending makes me cry. I’m a huge Batman fan. I’m a huge fan of Christopher Nolan. I saw Memento in theaters.
I’m a fan of both The Prestige and Inception. I dreamed several times, before its release, about The Dark Knight Rises. In the Venn diagram of possible fans of The Dark Knight Rises, I’m probably dead center, where all the circles overlap.
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And let me also be fair: I’m going to say a lot of negative things here about the film, but I don’t hate The Dark Knight Rises. It has a lot of problems, and if I’m forced to give a “thumbs up” or “thumbs down,” it’s the latter. But that doesn’t mean I don’t see a lot that’s good. Nor does it mean I won’t rush out to see the next Christopher Nolan film.
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I will. Before we begin: here there be spoilers. In discussing specific points about the film, there’s no way to avoid revealing what happens at those points. If you haven’t seen the film and want to, go see it first, then come back. So let’s start with the fact that there’s a lot to like about The Dark Knight Rises. It’s beautifully photographed. One would expect no less from a Chris Nolan film. Thomas Hardy’s Bane, despite inevitably falling short compared to the screen presence of Heath Ledger’s Joker, makes an excellent villain.
Rises also manages to up the ante, a seemingly impossible task after The Dark Knight, by deconstructing Batman and throwing Gotham into chaos. Bruce’s sojourn, after being broken by Bane, is admirably existential. The film also tries to wrap up the trilogy by connecting its threat to Ra’s al Ghul, from the first film. Hell, even the falling motif from Batman Begins gets a callback.
Hans Zimmer’s score is so excellent that it’s hard to imagine the film without it. True, the excitement it generates is mostly based on his score’s echoes of The Dark Knight’s music, but much of what works in Rises simply wouldn’t work without Zimmer’s score to accompany it. It’s also nice seeing Cillian Murphy as Jonathan Crane and Liam Neeson as Ra’s al Ghul, even if they have small parts, and this helps the trilogy feel like it comes full circle. Minor Problems. There’s more positive later, in the last section below. But let’s shift into what fails about Rises, moving from least to most serious.
Let me start by saying that I’m glad if you like The Dark Knight Rises. I wanted to. I wrote a book about Batman Begins. I love The Dark Knight, and its ending.
Some of these failures aren’t too serious. For example, we might point out that the flying vehicle simply called “the Bat” doesn’t look nearly as cool as the Tumbler or the Batpod motorcycle, from the previous two films. In fact, the Batpod, with its wheels spinning sideways on quick turns, provides a lot more excitement in this film than anything the new flying vehicle does. We might also complain that Selina Kyle seems to operate the Batpod without any training, despite what looks like complicated controls and an awkward, laying- down piloting position.
This lessens Batman, suggesting that anyone could do what he does, given the same toys. True, Gordon does pilot the Tumbler in the first film, but he seems uncertain there, whereas Catwoman takes to the Batpod with ridiculous expertise. In fact, she even makes a quip about not needing instructions – almost like the filmmakers were aware of this problem and thought shining a light on it, through a line of funny dialogue, would wipe the problem away. At one point, “the Bat” is targeted by heat- seeking missiles, which Batman deftly steers into Gotham skyscrapers – endangering, if not killing, civilians in the process. In a big movie cliché, the missiles seem almost exactly as fast as the Bat, despite that missiles are much quicker than what is essentially a high- tech helicopter. In an even bigger cliché, Batman steers the final heat- seeking missile into a villain. Alfred’s resignation is a great moment.
But it doesn’t seem consistent with his actions in previous films. If he never wanted Bruce to come back to Gotham, he never mentioned it in Batman Begins — where he helped Bruce create the Batman persona. The film invests a decent amount in the idea that Bruce grew up in Wayne Manor. He quips about the room in which he was born. Alfred leaves Wayne Manor, then Bruce.
No one mentions that it’s not the same Wayne Manor, which burned down in Batman Begins and was presumably still being reconstructed during The Dark Knight. The closest Rises comes to acknowledging the destruction of Wayne Manor is in a single photograph, perhaps damaged in the fire, early in the film. Nolan has been criticized for his fight scenes consisting of rapid cutting, with lots of close- ups.
This can sometimes make it difficult to tell where characters are or what specifically is happening. Nolan seems to avoid that mistake here. Unfortunately, the result is too often that the fighting looks impotent and unimpressive. Batman seems very much like a regular man in a suit when he confronts Bane for the first time. Perhaps that’s intentional, because Batman, who’s out of practice, loses that fight. But when he and Bane make their way through a battling mob and come face to face for their final battle, the result is equally unimpressive. The viewer has to pause a moment to realize, “Oh, I guess this is it.”This is especially not good for a film that seems to hardly feature Batman at all.
Where is the prison in which Bane and Talia grew up? Presumably, it’s in the same part of the world in which we found Ra’s al Ghul in Batman Begins. In fact, the exterior of the prison was shot in Jodhpur, India.
It doesn’t have to be set in that location, and we might guess that one of the corrupt local regimes seen in Batman Begins is savage enough to run a prison like this. But setting is important, and not knowing it detracts from Bruce Wayne’s rehabilitation there. Then there’s the matter of how Bruce Wayne got there, which isn’t shown. More importantly, how does he get back? In Batman Begins, we see an adequate amount of footage of Bruce Wayne surviving without means, but he comes back to Gotham on a jet. In Rises, it seems like people teleport to and from this prison, despite being on the other side of the world from Gotham.
And how does Batman get back into Gotham, despite the United States military blockading the city? It’s more than a little surprising that the military would go along with this blockade. It only does so because it’s concerned that Bane will detonate a nuclear bomb if anyone escapes.
Yet the U. S. government has no evidence of this. Surely, it wouldn’t blockade an American city full of citizens purely because someone said he’d blow the city up. In real life, rescue workers violate orders by diving into rivers to save people. In hostage situations, even when bank robbers have threatened to kill all their hostages if any escape, police officers hurry escapees to safety – rather than leveling guns and demanding they go back inside.
Some soldiers might fire on American civilians, but others wouldn’t. Faced with people fleeing Gotham, it’s hard to imagine soldiers reacting as they do in Rises. But then again, The Dark Knight has this same problem: the city’s only too eager to comply with the Joker’s orders, and the way that film’s “prisoner’s dilemma” plays out defies everything we know about human psychology. But here, Rises seems to preserve (and even exaggerate) the mistakes of the previous films, while failing to adequately preserve the good points that inclined even observant viewers to forgive these mistakes. We could also gripe about Catwoman’s motivation. She’s seeking a computer program that will erase her records – not unlike the protagonist’s motivation in Nolan’s Inception.
In a subtle move, this program is called “clean slate.” And it seems to be contained on a single USB drive, which hasn’t been copied and used a million times, which we might expect criminals to do. We could also gripe that the film’s climax relies upon another Wayne Enterprises device, much like the previous two films. This one’s been converted to a nuclear bomb, which stains credibility and isn’t exactly subtle. There’s also a point, when Bane’s running Tumblers through Gotham, doing battle with Batman and Catwoman, who ride their own Wayne Enterprises vehicles, when we wonder whether anyone in this universe has an R& D department.
The previous two films have strained credibility on this point, but Rises really goes over the top. Wayne rival John Daggett has a minor role in this busy film, but he’s very much in the model of Tony Stark competitors, incapable of his own innovation and only capable of thievery. In the universe of Nolan’s Batman, there’s no R& D department except that of Wayne Enterprises.
In a film that seems intent on pleasing fans, we learn at the end that policeman John Blake’s legal first name is Robin, and he discovers the Batcave, setting him up as Batman’s successor. But he’s too old to be Robin, who was trained by Batman, nor was any Robin named either Robin or John Blake. Instead of feeling like an adaptation of the Batman mythos, such a reference makes the whole story feel more like an alternate history version of Batman that veers off in its own, random direction. The end of the film is incredibly rushed. Yes, we see Gordon at the unveiling of a Batman memorial statue. But we don’t know if Gordon is fired as police commissioner, which a single line of dialogue predicts.
We don’t see what happens to Selina Kyle’s friend Holly, a character borrowed from the comics who doesn’t seem to serve an important point in this film. We don’t see whether Lucius Fox is able to right Wayne Enterprises. We don’t focus on Talia or Bane’s dead bodies, to such an extent that viewers would be forgiven for not remembering whether they live or die. We don’t really see Gotham rebuilding, or reconnecting with the rest of the United States, let alone revenge attacks for what happened during Bane’s occupation. It’s all put back to normal with a single cut.
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