While has just released a new opus from the saga, “The Batman”, TMC goes back tonight “The Dark Knight Rises”, made in 2012 by Christopher Nolan, with Christian Bale in Batman.
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The movie is impressive. Earthly terraced. The predeteric is reminiscent of the opening sequences of the James Bond, weighted with a substantially more brutal power. This opening marks the entrance to Bane scene, new supermicking to the grafted mouth of a kind of metal gas plant from which escapes a voice of English Lord.
Bane is not the joker. He is not there to laugh. It’s a kind of post-11-September butcher. One type to colossal force, a destruction power in pure state, which causes the film to an apocalyptic horizon.
Far from Tim Burton’s Gothic aesthetics, which referred to the New York Funds of the 1970s and 1980s, the Gotham of Nolan is a city of XXI e century, thriving, brilliant Fires of triumphant capitalism. By staging its collapse, the filmmaker offers a monstrous but striking representation of the endemic crisis of the capitalist system and the terror inspired by the cataclysms, whether natural or chemical, appearing as the two slopes of the same reality. .
Return from a libido
After Batman Begins and The Dark Knight, his first two components, Nolan was inspired by The Dark Knight Returns, Frank Miller’s comics (1986) depicting a Bruce Quinquagenarian Wayne and Aigri. In this third film, he exceeded the retirement age of superheroes, has the traits drawn, walk with a cane. The death of Rachel, his beloved, took off his last reason to live. The stakes of his saddle rehabilitation, and the epic combat that will oppose it to Bane, can be summed up on that of a return of a libido that too long years of security and prosperity had destroyed. The title of the film, moreover, does not say something else.
To find a little shiver, nothing is worth a good old war and Nolan does not deprive himself of putting one on the streets of Gotham, between an armada of convicted prison and the complete contingent of The municipal police. It will not be necessary for its hero to be seduced by Selina, new Catwoman bounding and sexy (great Anne Hathaway, curved in a combination of latex).
In this monumental fresco, we find Alfred, the loyal butler and guardian of Bruce Wayne (Michael Caine), Gordon, the Loyal but Faillable Commissioner (Gary Oldman), Fox, the Mysterious Patron of the Wayne Foundation (Morgan Freeman) Foley, the short-view cop (Matthew Modine) … and a newcomer, the young inspector Blake (Joseph Gordon-Levitt, very good), high orphan within the Wayne Foundation and Future Robin Potential.
The filmmaker swirls all this little world in a great set of masks, where everyone reveals a dual nature. Too grabbed by its great show scenes, it partially misses this dimension, entangled with little credible verbous tirades.