The word “ambitious” has been used to describe Christopher Nolan‘s The Dark Knight Rises, almost as an apologia. In a summer containing superhero epics that’ve conquered the globe through a combination of charm, polish, and weightless fun, a glum, glowing Batman film can’t help but feel like a party-crasher, a mirthless rebuttal to the joyful hedonism proffered by Marvel Studios. It just so happens that Nolan’s third and final Batman film is ambitious. Functioning as a third act, it introduces a slew of new characters, expounds upon ideas Nolan subtly presented behind the smokescreen of Heath Ledger‘s mesmerizing performance as The Joker in The Dark Knight, and brings his massive, decade-spanning and character-defining story to a close while leaving the door slightly ajar, suggesting both a Gotham without Batman, and a Gotham that can’t survive without one. It’s an audacious juggling act that’d succeed on the merit of sheer scale were it not for the fact that The Dark Knight Rises is just as successful as its predecessors in painting an only slightly-warped representation of our society, gently nudged to its extremes. If The Avengers and The Amazing Spider-Man were long on great power, trading in narrative subtly for titanic struggles between Good and Evil, The Dark Knight Rises is a sobering reminder that any struggle, no matter how titanic, is a grey affair, that the people who fight with the greatest power also have the greatest responsibilities and, ultimately, should make the greatest sacrifices. Its ambition is to hold its characters up to the audience as a mirror. (more…)
