The Dark Knight Rises (2012) Review

'This city needs me'

Today we take you back to the summer film of yesteryear, the final instalment of Nolan's Batman Trilogy. Following up from the superlative The Dark Knight (2008), The Dark Knight Rises (2012) focuses on Bruce Wayne as the outcast Batman, in post-Dent/Joker Gotham. Eight years after the events that transpired in the former film, Gotham City police department has almost eradicated organized crime and Batman (Christian Bale) has disappeared leaving Police Chief Commissioner Gordon (Gary Oldman) struggling to cope with the guilt he feels over what happened with Batman. This cues the introduction of Selina Kyle a.k.a. Catwoman (Anne Hathaway), an alluring and elusive cat burglar in Gotham and Bane, (Tom Hardy) a ruthless revolutionary out to eradicate Gotham once and for all. The recurring characters that feature from the supreme series are loyal butler Alfred Pennyworth (Michael Caine) and Lucius Fox (Morgan Freeman). New to this instalment are local young police officer John Blake (Joseph Gordon Levitt) and member of Wayne Enterprises Executive Board Miranda Tate (Marion Cotillard).

The film features an array of outstanding performances from the entire cast; Hardy makes a dramatic transformation into his character - Bane, a ruthless militant revolutionary. Hardy is able to capture the audience's attention through most notably the physical manner of his performance. He is brass, bold and dominant, moving like a bulldozer in a manner designed to cause the most damage to his opponents; his voice is striking, clear and almost manufactured, like a machine. This only further emphasises the notion that Bane is a machine 'built' for the potential destruction of Gotham. Portraying the mischievous Catwoman/Selina Kyle is Anne Hathaway, whose come a long way since her Princess Diaries days. The initial skepticism she faced from critics is proved redundant as she puts in a convincing performance of a women who is defined by her alluring, witty and agile nature. It would be easy to miss the complexity of the character and for this not to come across on screen, but Hathaway proves she is able to convey the more vulnerable side of the character through her hesitant gestures and movement as well as adopting the feline tendencies in her mannerisms and physical demeanour. This help create a contrast between the two different portrayals of the character, in the first half of the film she is far more playful whereas in the second half she is seemingly colder and more hardened by what she has witnessed and effectively been a part of.

Christian Bale is able to adhere to the more unsteady side of his character, displaying the unsure side of the Batman through his initial denial of self-doubt and hesitant physical actions. Despite this, Bale is still able to engage the attention of the audience and rally them up behind him as a symbol of their effective 5 month oppression in the latter part of the film. This in turn references the film’s themes of belief and hope in something more than just a man - a symbol, which as we know can withstand more suffering. One of the most heart-breaking moments comes to courtesy to us of Michael Caine, who produces a touching and heartfelt performance as Alfred Pennyworth. Caine's performance clings to the sentimentalities behind the infrastructure of the film – he is a man trying to look after ‘the man behind the Bat.’ A much-needed voice of reason; the scenes in which he features are always the most emotive and thought provoking, as he is a familiar face in the Nolan’s trilogy, meaning the audience have a clear sense of what the character is about and the struggles he's faced over the series. Meanwhile, Joseph Gordon Levitt portrays a somewhat secondary hero in the film as John Blake, who epitomizes the hope that regular people have for the persona of Batman, and all he stands for. Levitt is able to align himself with the audience in terms of feeling, as for many he will be the character that most people can relate to - and the character that emulates the belief in Batman that certain people have.

As always, Nolan treats the audience to some amazing special effects and visual imagery; the technology featured is superbly crafted, futuristically envisaged and comes to life through this piece. Cinematographer Wally Pfister conveys the themes of the film well, referencing key moments and presenting the gritty and dark nature of the city through notable stylistic measures. The use of color and tone appears somewhat lighter in some sequences which makes it appear more realistic, focused and clear, which in turn really hits home the thematic of the film – the idea of a civilization not dissimilar to our own, needing everyone to ‘rise’ above the oppression around them. The high level of focus gained by Nolan utilizing IMAX cameras for a vast majority of the picture, increases the level of definition and quality, which allows the audience to not only see everything in a much more clearer light, but to also to be able to escape away into the movie. Comprising of breath-taking chase sequences, beautiful and bewitching imagery, high-scale explosions and dramatic scenes, The Dark Knight Rises proves itself amongst audiences and is wonderfully impressive and really dazzling to behold.

Once again, the transcendent Hans Zimmer returns to compose the film’s musical score, which is, as usual, dramatic and enticing but justly empowering (especially the score ‘Rise’). Using strongly percussive instruments, Zimmer creates a thunderous, overbearing sound that is able to grab the viewer and engulf them fully within the film, emulating the sense of urgency and danger that the characters feel. Contrastingly, the use of soft, high pitched lingering tones make the effect last longer, and is somewhat haunting - which keeps the audience on edge and wondering what's going to happen next. Zimmer adds to the overall thrilling nature of the film, creating a score that is highly theatrical and really gets the audience involved with the tension and emotion of the film.

The film has a universal connection and theme to it as it reflects the ability of its characters to ‘rise’ - to rise above the oppression, to rise above the persona – to rise against those who wish to destroy Gotham - and most importantly to rise above the part of themselves that they need to overcome in order to return to their once great magnitude and former glory. It is this, which is truly thought provoking and which is the core of Nolan’s The Dark Knight Rises.

The Dark Knight Rises proves itself effective as a stand-alone film and as a suitable ending to the what has been the best trilogy of Batman films by Nolan. Enthralled with aesthetic pleasure, a striking plot, memorable characters and various thought provoking themes, Nolan makes sure to keep your mind focused on The Dark Knight Rises well after its 165 minutes are concluded.