Nolan Delivers the Goodsand Just About Everything Else in a Blazing Crescendo

Rating: 9/10 (23 July 2012)

To state that Christopher Nolan's crescendo-building finale to the Dark Knight trilogy is richly plotted is a gross understatement. There is so much going on in the intricately detailed screenplay co-written by Nolan and his brother Jonathan that it's a wonder that he pulls it off with not only cinematic gusto but with surprising clarity. In fact, the artistic success of this epic 2012 adventure has primarily to do with Nolan's virtuosic filmmaking style which reflects an uncompromising level of commitment that stubbornly doesn't translate into the level of Cameron-level hubris you would expect from such a surefire studio rainmaker. In fact, as he showed most effectively in 2008's "The Dark Knight", Nolan can take the most ludicrous material and invest it with so much belief and inflate it with unbounded imagination and intelligence, so much so that he can overcome any lingering skepticism (if not endless critical feedback) that belabors the incredulousness of the venture. Unlike 2010's "Inception", where he does get carried away with the blinking creativity of its mind-altering concept, the well- grounded myth of Batman tethers him irrevocably to the fastidious demands of an established fan base of not only the 73-year-old comic books but of the movies themselves. He also has a firm grasp on the narrative from an emotional standpoint and can still stage a sharp albeit often far-fetched action scene.
Although it's only been four years since the release of "The Dark Knight", the story has moved forward eight years since the pivotal moment when Batman disappeared after taking the blame for D.A. Harvey Dent's crimes in order to salvage the hope he represented to the populace in the wake of the Joker's rampage. Bruce Wayne's lifelong love Rachel Dawes was killed in a fiery explosion, and he has become a recluse in his manor under the delusion that she was leaving Dent for him. A clever jewel thief named Selina Kyle unexpectedly enters his life stealing his mother's pearls just as Wayne Enterprises begins to crumble due to Wayne's long-standing absence from the board. He retreats from his decision to invest in board member Miranda Tate's clean energy project after he learns that the core could be modified to become a nuclear weapon. At the same time, a brutalizing terrorist named Bane makes his debut in Gotham City attacking the stock exchange and forcing Wayne to liquidate his assets. Although the act appears initiated by the Machiavellian impulses of a rival board member, the ensuing revolution turns out to cut much deeper as a war against the wealthy with the entire city being held hostage and a deeply personal vendetta against Wayne that inevitably goes back to the story in the first film, 2005's "Batman Begins". To give away any more would be sacrilegious. Suffice it to say the circumstances become dire leading to powerful images of devastation and visceral showdowns that don't disappoint.
If anything, Nolan eschews much of the expected violence in favor of genuine suspense probably due to the pre-release speculation of rabid bloggers who were trying to guess how Nolan would wrap up all the story lines. Obviously if you have some idea of the original comic book story lines, you'll know where the plot is going. Regardless, Nolan has really figured out how to provide the film a climax that is ultimately satisfying. As both Wayne and Batman, Christian Bale proves that he is the actor who best understands the dichotomy of the mythically contrarian role, and in this film, reveals the vulnerability of a fallen public figure with the appropriate gravitas. Several other veteran actors are back for their third round and reveal more depth to their characters – Michael Caine conveying the weight of Alfred's melancholy while witnessing Wayne as he tortuously resuscitates his secret identity, Morgan Freeman erudite as ever as Wayne's armorer Lucius Fox, and an especially effective Gary Oldman, who as the world-weary Commissioner Gordon, agonizes over the guilt of his long-held secret about Batman and Dent. Nolan also scooped up members of his "Inception" ensemble for key roles – a comparatively pallid Marion Cotillard as Wayne's benefactress and burgeoning love interest Tate, Joseph Gordon-Levitt showing more grit than before as police officer John Blake whose idealism remains unabated despite the grim circumstances, and Tom Hardy virtually unrecognizable as the menacing Bane. In particular, Hardy sharply conveys the imposing physicality and florid pontification of a relentless terrorist leader.
The biggest surprise of the cast turns out to be Anne Hathaway who eschews her usually sunny screen persona with infectious abandon as Catwoman (although she is never referred by this moniker in the film). She not only captures her character's slinky amorality and acrobatic moves but also provides clear insight into Selina's nihilistic behavior with welcome economy. In fact, the one storytelling misstep may be an underlying presumption that an anti-Wall Street screed would automatically establish the moral tone of the film when I think more widespread evidence of such villainy is warranted versus the greed- driven acts of a single company's board. But let's not forget this is all based on a comic book, and on that level, it enthralls with impressive set pieces, state-of-the-art gadgetry (the high-flying "Bat" is cool), and thrilling action sequences. Nolan also doesn't harp on any particular political agenda and never forgets that balance in his cerebrally meticulous approach all the way through its 145-minute running time. This is one of the few occasions when I felt the movie was actually not long enough. The film's production values are superb from Wally Pfister's dark-hued cinematography (he also lensed the first two films) to Hans Zimmer's appropriately stentorian score to the outstanding production design by Nathan Crowley and Kevin Kavanaugh. Despite my misgivings about the overly expository nature of the first film which comes back somewhat in this one, this is a genuinely spectacular finale to a great trilogy.