(Here comes the Bat - chasing the Cat. Let the games begin....)
CAST: Christian Bale, Anne Hathaway, Tom Hardy, Morgan Freeman, Gary Oldman, Marion Cotillard, Joseph Gordon-Levitt, Michael Caine, Juno Temple, Matthew Modine.
DIRECTOR: Christopher Nolan
WARNING: Some SPOILERS and some good examples of how to end a trilogy (I'm looking at you, MATRIX REVOLUTIONS) straight ahead...
IT'S LIKE THIS: In 1997, the atrocity known as BATMAN & ROBIN was released - and pretty much killed the franchise that started in 1989 with BATMAN. Not hard to figure out why: BATMAN & ROBIN is pretty much what you would get if you fused a really bad superhero flick with a particularly tacky segment of the Pride Parade. Let's just say that whatever jackass dreamt up the concept of "batsuit nipples" needs to have his own nipples pinched between the claws of an Alaskan King Crab - then have his testicles fed to a Great White Shark. Modest and gracious sport that he is, star George Clooney likes to joke that he was the one who buried the series, but we all know who the culprits are - and they were all behind the camera, folks. Ease up on yourself, George. Your nipples are safe. And so are your balls...
God bless Christopher Nolan, then. In 2005, he directed and released BATMAN BEGINS - and let's just say that it was the equivalent of a Fountain Of Youth Magic Potion for the Batman Franchise. The movie basically brought Bruce Wayne/Batman back to life in a sexy, gritty, resonant way that would've been unheard of in any of the previous films which seemed to be more concerned with being bizarro freak shows. Then, in 2008, THE DARK KNIGHT took the awesome - and made it awesomer. We all know about Heath Ledger's show-stopping perf as the Joker in that movie, as well as some of the jarringly atypical twists like (Spoiler Alert For The Uninitiated) killing off the love interest just halfway through the film - and having the baddie's crimes be pinned on Batman in the end. Let's just say that THE DARK KNIGHT was the DC version of THE EMPIRE STRIKES BACK.
And now we have THE DARK KNIGHT RISES. It's been about seven years since the events of THE DARK KNIGHT, and Gotham is looking a lot like one of those cities that appear in "T0P 10 Places You Should Move To Right Away!" See, with all the crime lords and kingpins put behind bars in the last film, there's a total dearth of criminal sleaze on the streets which are totally safe - and it's pretty much Halcyon Days for Gothamites. Especially the law enforcers, who are probably so short on work they spend most of their days at Starbucks. But, as we all know, Halcyon Days by their very nature are fleeting and not meant to last. In other words: not so fast, assholes, because things are about to get really interesting again.
Sure enough, a new baddie sweeps into Gotham, and his name is Bane (Tom Hardy). Bane looks a lot like a WWF wrestler who's doing an impersonation of Darth Vader. And he's just as cranky as Lord V. Of course, if I had what looked like a metal clamp stuck over my lower face and mouth, which kept me from using my mouth for various, um, sleazy activities, I would be extremely pissed, too. In fact, I firmly think that both Bane and Vader would've given up their crime sprees if they would've taken their masks off and just, you know, tongued someone. Seriously. Nothing beats some hot sweaty sex when it comes to keeping you looking young and happy - and these two could've seriously used some.
But I digress. Before you know it, Bane is perpetrating some serious shit and who must come out of hiding to thwart him? If you said anything other than Batman, then please leave immediately. Just go. Now. Anyhow, let's just say that seven years out of the baddie-fighting circuit has taken its toll on Brucie Bruce (Christian Bale), and he's just a tad rusty. Hell, more than just a tad. Put it this way: even his "loyal" butler Alfred (Michael Caine) pretty much snickers when he tells him that he plans to face off against Bane. "Riiiiiiiiiight," Alfred pretty much says, "You and what intensive physical therapy unit?" Or something to that effect.
Then there's, ahem, the females. Yes, sir. If you're billionaire playboy Bruce Wayne, it's a given that you're going to have chick problems. Let's not forget what happened to Brucie Bruce's last girlfriend, the lovely and intensely ballsy Rachel Dawes (Maggie Gylenhaal), Gotham's assistant district attorney. She was tough. She was smart. She was driven. She was clever. She got blown up like a bunch of Acme dynamite sticks in a Road Runner cartoon. Bye-bye Rachel.
This time, there are two chicks in Bruce's life. And, true to tradition, one of them is good, and the other one is... well, let's just say she keeps Brucie Bruce on his toes. The goodie-goodie is Miranda Tate (Marion Cotillard), a rich do-gooder philantrophist who wants to take Rachel's place in Bruce's life. Doesn't she know how Rachel ended up? Miranda, dear, do you have a death wish? Then there's the Other Woman: she is Selina Kyle (Anne Hathaway), who is a devious burglar who has got the whole cat-and-mouse thang going with Brucie Bruce. The more he chases her, the more she eludes him. The more he doesn't chase her, well, the more she still eludes him. Guess Bruce ain't catching this one. Or will he?
Anyhow, things come to a head when Bane takes Gotham for ransom. Cue Bruce dusting off the Batman outfit and limping into it. I'm barely exaggerating here, folks. In this movie, Bruce makes me look like I'm in super tip-top shape and should be a superhero myself, which would make me the most useless superhero ever because I would only save hot people. Aiding Bruce/Batman in his rescue-and-redemption operation are old stalwarts Capt. Jim Gordon (Gary Oldman), Lucius Fox (Morgan Freeman), the aforementioned snickering Alfred, and new allies in the form of the aforementioned Miranda and the mysterious cop John Blake (Joseph Gordon-Levitt), whose past (and future?) is linked to Bruce's.
Then there's Selina, whom Bruce's dick is fairly dying to fuck. Except he can't quite corner her or pin her down - but even if he could, he's not quite sure if Selina is friend or foe. There's a good chance that she is on Bane's payroll, and if so, is she completely loyal to her boss - or just her paycheck? Can Bruce count on her to fight next to him? Or is she pretty much going to save herself - or worse: throw him under the Bane bus? Can he trust that she won't rip his heart out and stomp on it? Yes, folks.... Selina has gotten some serious schooling from her pals Catherine Trammell (BASIC INSTINCT) , Elektra King (THE WORLD IS NOT ENOUGH), Catherine Banning (THE THOMAS CROWN AFFAIR), and Princess Turandot (Puccini's opera TURANDOT). Meaning, she's going to make Brucie Bruce work. for. it.... Go, girl.
How will this all end? Will Bane succeed in blowing up Gotham? Will Bruce get over his injuries and return to glory as Batman - and save the day? Or should he just hang the cape up and let Gordon, Lucius, and John take up superhero duties? What is John's secret link to Bruce/Batman, anyway? What ace does he have up his sleeve? Or is it Selina who has one? Will she choose the side of good? Or the dark side? Will Miranda end up getting killed just like Rachel? Should she dump Bruce and find a boyfriend who won't get her blown up? And the biggest question of all: since we know that all Batman movies have more than one villain, and since THE DARK KNIGHT RISES claims to have only one villain in Bane, is it fair to say that there is a secret baddie waiting in the wings for the right moment to reveal himself (herself?) and shock Gotham? Ahem? What is her (his?) connection to Bane? What dastardly shit do they have planned? Who is it? Gordon? Jim? Selina? John? Miranda? Lucius? Or is it.... the Geico Gecko, who seriously sounds just like Alfred? GASP!!! Is Alfred really the Geico Gecko!?!?!?
Whatever. All I know is Anne Hathaway's ass looks awesome in that catsuit. Could she possibly be the lost Kardashian daughter? I though I was the lost Kardashian!?! Hmmmmmm.....
BUT, SERIOUSLY: In the annals of cinematic history, there are very few true trilogies that are also excellent. A true trilogy, contrary to what some people think, is not just three films bearing the same title with a number next to the titles. True trilogies are planned out in advance, carrying forth the themes of the first film, changing them or expanding upon them in the second film, then in the final film coming back full circle to the beginning to close out the entire story in a way that feels satisfying and complete. Setups are made in the early films that payoff in the latter ones. Everything arcs back to the beginning. In short, true trilogies are like complex and beautiful tapestries whose patterns only become clear once the saga has ended - and when we step back to consider the three different parts as a whole.
The STAR WARS films were a good example of a sterling trilogy - until EPISODES 1, 2, & 3 came out and turned the whole thing into a sextology (a wildly uneven one, considering the quality - or lack thereof - of the three new films) and dragged down the original three movies. Then there's the BACK TO THE FUTURE films, but I don't think you can consider them a true trilogy - but rather a series of adventures that were created on the fly as each successive film did well at the box-office. There's also the MATRIX films, which are a true trilogy, but unfortunately the second and third films were nowhere near as great as the first entry. Then there's the GODFATHER films, but that true trilogy flamed out - after an excellent first and second entry - with a flawed and disappointing final film. Then we have the SCREAM trio which, despite their "unclassy" horror pedigree, was a very worthy true trilogy - until the unnecessary SCREAM 4 was released and kind of marred things.
Which, in our minds, only leaves one true contender for the title of "Greatest True Trilogy Of All Time": Christopher Nolan's "Batman" Trilogy. Quite simply, these movies are a stunning achievement in combining bracing action and taut suspense with deeper, more profound themes. Those who write off these films as nothing more than "Summer Entetainment" are doing the movies and themselves a great disservice. Nolan and his brother and co-writer Jonathan have crafted a graceful and elegant three-chapter examination of heroism, truth, identity, and sacrifice - with the themes introduced in BATMAN BEGINS expanded upon in THE DARK KNIGHT, then finally brought full circle back to the first film in THE DARK KNIGHT RISES.
Throughout all three films, the questions of truth and identity are paramount. In BATMAN BEGINS, Bruce Wayne (Christian Bale) is forced to have two identities to keep those he loves safe from reprisals from the bad guys. He must be Batman, and no one can suspect that this mysterious crime fighter and Bruce Wayne are the same. There's also one of my favorite scenes in the film where Rachel (then played by Katie Holmes) sees Bruce cavorting with a couple of beautiful women and living a shallow existence. Ashamed, Bruce assures Rachel that he is different inside. Rachel's response is a trenchant and sage one that refuses to let Bruce off the hook: "It's not who you are inside that defines you - it's what you do." In other words, our identities are forged by our actions. This sets up the payoff later scene where Rachel realizes that Bruce is, in fact, Batman and has been acting heroically all this time - and is not just the scoundrel/playboy she initially thought. This is my other top favorite scene in the film, and it brings full circle BATMAN BEGIN's themes of truth, identity, heroism, and sacrifice.
THE DARK KNIGHT expands upon these themes. In this chapter, Bruce experiences some serious internal conflicts about whether to give up his secret identity as Batman - so he can be with Rachel (now played by Maggie Gyllenhaal). He's eager for goldenboy/bloodhound District Attorney Harvey Dent (Aaron Eckhart) to take over the crime-fighting duties so he can live a normal life without keeping secrets from those he loves. Unfortunately, he fails to take into account the weaknesses in Dent's nature - which the Joker (Heath Ledger) senses and cleverly exploits. Here, Nolan expands upon the theme of identity: Bruce wants one identity and to discard his secret one - but is waylaid by the revelation that the true identity of the revered and worshipped Harvey Dent is not as strong and noble as everyone initially thought. This is what makes it easy for Joker to pull him to the dark side after Rachel's death. And in the end, after Batman kills Dent to save Gordon's wife and children, he must assume another identity to keep Gotham's faith: a murderer and fugitive. The overall theme of THE DARK KNIGHT becomes about sacrifice, as Batman must take the blame for Harvey's crimes and death - and "disappear" to go into hiding in order to keep the city from imploding. If it is revealed that Gothan's district attorney became a murderer, all of the criminals he convicted would be released - and the city would tear itself apart. Quite simply, THE DARK KNIGHT is a breathtakingly great film because of the unexpected moral paths it takes us down.
Now, we have THE DARK KNIGHT RISES. Where BATMAN BEGINS dealt with the truth hidden behind a secret identity, and THE DARK KNIGHT dealt with hiding the truth as an act of sacrifice, the final film reaches the inevitable conclusion: let the truth be known, and come what may from it. It's nearly eight years later, and Gotham has known peace - but it is a false peace that came with a terrible price. They have no idea that the hero, Harvey Dent, that they have revered for the past seven years or so is not heroic at all. The real hero, Batman, took the blame for his crimes and is now vilified in the press as a killer. The arrival of Bane (Tom Hardy) in Gotham finally sets in motion the chain of events that will bring the truth out into the light - and return everything full circle to the first film. It's entirely appropriate that a trilogy where the first two films were about hiding the truth repeatedly for either deception or sacrifice, should end with a film in which the truth is finally given its moment. And all the secrets reaching back to the first film are finally revealed. And a final sacrifice - perhaps the greatest of all - must be made. That's all I'm going to say.
THE DARK KNIGHT RISES was never going to be exactly as spectacular as THE DARK KNIGHT. Heath Ledger's show-stoppingly bravura performance (his last full one) was always going to be a tough act to follow, and as the second film in a planned trilogy, THE DARK KNIGHT could afford to go to some very dark and unexpected places and set up some intriguing elements that would wait until the final film to payoff. In short, THE DARK KNIGHT could afford to be atypical and daring, while THE DARK KNIGHT RISES has the more tricky task of tying all the threads of the complex tapestry together - while still managing to surprise the audience. It does this well, and is an excellent film - but just a notch below THE DARK KNIGHT. We always knew, however, that this was going to happen. Nevertheless, it's a terrific capper to a stunningly accomplished series.
If there is a film that THE DARK KNIGHT RISES effectively echoes, it's the first one - not surprising, since this movie's job is to reach back to BATMAN BEGINS and bring everything full circle. These two films share many similarities, but the strongest ones are: (1) "MacGuffins" - villainous plots - that mirror each other; (2) the return to the Bat Cave; and (3) a surprise villain waiting in the shadows who is revealed when it is least expected - and turns out to be a more formidable baddie than the known one. You have to admire the Nolan brothers' exquisite grace in mapping out this serpentine story - and breaking it down into three perfect chapters. Christopher and Jonathan Nolan are master filmmakers - and I can't wait to see MAN OF STEEL, the very promising Superman "reboot" debuting next summer, which Christopher is producing. We expect to see the same blend of gravity, depth, and excitement that he used to rebirth and reinvigorate the Batman mythos.
As for the cast - they are all aces. Christian Bale, as always, turns Bruce Wayne/Batman into a compelling mix of sexy intelligence, dry humor, and haunting vulnerability. Thankfully, he modulates his Batman "growl" here - which was THE DARK KNIGHT's only flaw. Morgan Freeman, Michael Caine, and Gary Oldman are, once again, strong as the various father figures/mentors supporting Wayne. Matthew Modine and Joseph Gordon-Levitt, as the newcomers to the group, make their own mark as, respectively: (1) Foley, the cowardly new police superintendent; and (2) John Blake, the brave, mysterious cop who knows more about Bruce Wayne and Batman than he is saying - and shares a surprisingly link to them. Then there's Bane, the new villain. Whereas Ledger as Joker was explosive and flamboyant, Tom Hardy wisely doesn't try to compete (who could?) with his memory and effectively underplays, using his very eloquent eyes and lion-like growl to signal Bane's complex, growing menace. He's terrific, and I look forward to more of Tom Hardy's work. All of the male castmembers, old and new, do themselves proud.
As for the women, Christopher Nolan has always given us strong female roles. Rachel Dawes was a refreshingly smart, tough, and serious heroine in BATMAN BEGINS, and was a breath of fresh air after borderline-comic book bimbos like Vicki Vale (Kim Basinger) in BATMAN and Dr. Chase Meridian (Nicole Kidman) in BATMAN FOREVER. Katie Holmes acquitted herself well in birthing Rachel in the first film, and when she didn't return for THE DARK KNIGHT, the equally-talented Maggie Gyllenhaal took the role and ran with it even more, with Monique Gabriela Curnen also pitching in as the treacherous Detective Anna Ramirez. With Rachel's death and Anna's betrayal in the second film, the stage was set for new female leads. THE DARK KNIGHT RISES also has two of them, and they're both played by terrific actresses.
While no one will ever forget or top Michelle Pfeiffer's heartbreaking turn as Selina Kyle/Catwoman in 1992's BATMAN RETURNS, Anne Hathaway delivers her own, more contemporary take on the character. While she is never referred to as "Catwoman" anywhere in THE DARK KNIGHT RISES, and simply as "Selina", we all know who the character is. Hathaway brings an appropriately feline ambiguity and slinkiness to the role, completely appropriate for someone who is not good, not bad - but somewhere tantalizingly and hypnotically in-between. We have to understand why Bruce Wayne would be intrigued and drawn to Selina despite his better judgement, and Hathaway's sharp and sexy performance tells us why.
But in her hands, Selina is also a very layered and complex character. With exquisite non-verbals and, of course, those expressive brown eyes of hers, Hathaway hints at the frightened, conflicted girl beneath the cool, confident, cat-like surface. Watch for the scene when Selina first gets into Batman's Batpod: she responds with a breezy wisecrack - but her eyes say something else. Or the scenes where Selina slowly realizes her mistake in choosing Bane's side over Bruce's - and decides to do something about it. Hathaway plays Selina's internal conflict - the battle between her light and dark sides - with unerring emotional precision. The reason this role works, and the role of, say, Poison Ivy (Uma Thurman) from BATMAN & ROBIN failed, is because Hathaway knows an interesting "villain" character is one with many different levels, and Thurman unfortunately played Ivy as a one-note (and therefore, boring) baddie. Great job from Hathaway.
Then there's the beautiful and talented Marion Cotillard as Miranda Tate, the rich Wayne Industries board member who befriends Bruce. Miranda is a less showy character than Selina, but Cotillard makes her consistently interesting and the script never neglects her, ensuring she plays her own vital part in the unfolding story. There's a monologue scene towards the end that Miranda gives which is absolutely riveting and hypnotic, and Cotillard reminds us again of why she won that Academy Award for LA VIE EN ROSE a few years ago - because of her ability to say so much with so little. Just like Hathaway with Selina, Cotillard turns Miranda into a worthy female lead who constantly surprises.
In the end, THE DARK KNIGHT RISES is as excellent a final film in Christopher Nolan's Batman trilogy as we could've ever hoped for. It successfully takes all the intriguing themes and setups from the first two films - and pays them off beautifully and elegantly here, bringing everything full circle. It is, without question, the Best Movie Trilogy Of Our Time.
