The Dark Knight Rises (2012)
For a large part of its long runtime, Christopher Nolan’s The Dark Knight Rises is riveting and conjures up messy themes and moral paradoxes that question the assumptions of the genre the film belongs to. The canvas is bigger than ever in the trilogy, the narrative knottier and the possibilities richer. The film is marked by a preponderance of vertical movements – Bane’s ascent from the sewers, Wayne’s escape from the pit, the Batman’s flight from the cops – and I guess one could tenuously map this to the notion of a Freudian return of the politically (Gotham’s seemingly huge underclass) and psychologically repressed (Wayne’s childhood trauma). But The Dark Knight Rises pursues no such apple-cart-upsetting ideas to completion and instead chooses to couch itself in the rarefied realm of Batman mythos, where the stakes for the non-fan are nearly non-existent. Nolan’s film channels everything from the Old Testament (Gotham as Sodom, Blake as Noah, the plagues, the Great Deluge), through the French and the October revolutions (the storming of Bastille, the twilight of the tsars), to the recent Occupy movements in America in a way that only politically non-committed studio products can afford to. That does not, however, mean that the film has no political viewpoint. Vehemently reactionary, The Dark Knight Rises nearly reduces every issue to a question of bad parenting. The film is rife with appeals for the need of responsible fathers and father figures, with the incurably paternal Batman being something of a godfather overlooking his hapless Gothamite children. (There’s a chuckle to be found when you see Gordon unveiling a statue of the Batman). And yet, I’ve not seen a film as classically solemn and tonally consistent all this year, with all other movies coming across as glorified sitcoms in comparison.