The Dark Knight Rises (2012)

Dir: Christopher Nolan

Starring: Christian Bale, Tom Hardy, Michael Caine, Anne Hathaway, Morgan Freeman

Plot: Eight years have gone by after the events of the “The Dark Knight” (2008), Batman has disappeared being blamed for the crimes and death of “Gotham’s Savior”, Harvey Dent. With a period of apparent peace numbing the city’s ability to react, Gotham falls under the attacks of Bane, a “law enforcer” carrying out the mission of the League of Shadows, requiring the Dark Knight to rise once again.

“The truth and nothing but the truth”:  The concept of “zeitgeist” is tossed around so lightheartedly these days that its meaning and the examples that are assumed to be encompassed by it lose their relevance. However, a clear example of a work of art that captures the gist of the present is “The Dark Knight Rises”. A far superior superhero movie with the depth and relevance, only achieved by a restricted number of movies, regardless of the genre.

The movie deals, among other aspects, with the current financial crisis (well…duh) and the ultimate effects of the capitalist system (with the levels of subtlety used in the analysis  varying throughout the move). But  instead of providing a totally biased portrayal of the “evils of the western civilization” and greed, Nolan showed the other side of the coin by representing the downside of the exact opposite ideological point, a “Dictatorship of the proletariat” if you will, in a sequence that resembles the excesses committed by the people during the Russian revolution, and thus displaying a chance of redemption and catharsis for society as we know it (thumbs up for Capitalism!). Nolan’s overall study of the effects of “Social Darwinism” and the corruption associated to it, while a constant throughout his saga, take a completely different turn in this entry.

The enemy, or rival if you will, presented on this entry is far different from both Dr. Jonathan Crane (a.k.a The Scarecrow) and the Joker, two villains who enforced the mind and ideals over physic strength, and ultimately couldn’t be eliminated (the ending of “The Dark Knight” left the Joker alive, and Dr. Crane continues to roam around Gotham) and thus representing the notion that all the evil seems to live forever (Yes, the song “Only the Good Die Young” by Iron Maiden just came to mind). Anyways, Bane is the first villain who combines the two types of aforementioned strengths: the belief on an ideal (no matter how distorted the notions associated to said ideal are) and physical power, a threat that didn’t menaced Batman in the previous movies.

Tom Hardy delivers a believable performance (No comparisons to “Batman & Robin” nor Heath Ledger’s Joker should ever be made) albeit not one free from criticism (and surprisingly enough not all came from Republicans [ http://www.cbsnews.com/8301-505270_162-57474527/batman-and-politics-the-bane-bain-name-game/ ]): from his dictation being incomprehensible to his pose that mirrors a folk dancer or a really smug villain holding his suspenders. I for one tend to compare Tom Hardy’s Bane in some specific moments, such as his speech at the stadium, to Sean Connery’s campy character in “The Avengers” (1997) (no…not that one).

For all it’s worth, Hardy manages to transform Bane into a human like character, with the ability to display weakness and emotions and (SPOILER!) that ultimately can be eliminated as opposed to the previous villains (END SPOILER!)

The supporting cast is strong and consistent with Oldman’s Commissioner Gordon and Freeman’s Lucius Fox taking the spotlight from Caine’s Alfred. Alfred’s absence in a considerable portion of the movie contributes to the increase of the significance and impact of his character and also allows the viewer to ultimately experience the dependence relationship that exists between him and Bruce Wayne.

The scene stealer is of course Anne Hathaway’s Selina Kyle/ Catwoman, the perfect counterpart to Bruce Wayne/Batman and a more than optimal “replacement” for Rachel. While I have to admit that I had reservations towards how Hathaway would handle a role that was near-perfected by Michelle Pfeiffer in “Batman Returns” (1992), but she managed to handle the task combining sexy and tough in a way only Pfeiffer could.

Marion Cotillard’s Miranda Tate, at first, just seems to tag along and fulfilling her purpose to the story and while comic book fans surely saw the twist coming from miles away, I for one was pleasantly surprised as the character revealed its true significance.

Bale gives a great performance and truly captures the essence of wounded hero. His recluse version of Bruce Wayne is, in many ways reminiscent of the eccentric millionaire Howard Hughes (Nolan had always planned to do a biopic about him but after Scorsese’s “The Aviator” (2004) the idea was dropped). He really matured as an actor, settling the ancient doubt I had about him when I first saw “American Psycho” (2000): is he really a good actor or the fact that the character he’s playing, Patrick Bateman, happens to encompass the traits of his acting: wooden and aloof?

While the excessive hype may have endangered it’s potential success, the movie is by all means a masterpiece. I address the criticisms, mainly fuelled by misguided expectations and safely state that it was never Nolan’s intention to surpass the previous entry. Each movie is simultaneously linked with the remaining parts of the saga and an independent movie with its individual and unique message, allowing the story not only to move forward but also to come full circle. And there lies the beauty of Nolan’s saga.

Focusing on the on-going “The Dark Knight” vs. “The Dark Knight Rises” comparisons, such analysis is futile and the viewers who expect a carbon copy of former with a different villain will be disappointed.

For me, like its predecessor, this movie required a second viewing and along with all of his prior works cement Nolan as the best director currently working. A must-see. Let’s hope his contribution to the Superman reboot “Man of Steel” (2013) yields such a satisfying outcome.

“Money-Shot”: The whole movie is the money shot, but the final wrapping up sequence is worth of mention, simply because it will be the last time we will see it for the first time.

Bottom-Line: 10/10. It’s more than a blockbuster. It’s an event. I urge anyone to watch this epic in a movie theater and give it without reservations the exact same grade I gave “The Dark Knight”. The best movie of the year, so far.

But of course, this is just my opinion, I could be wrong…