"The Dark Knight Rises" Movie Review Essay & Film Analysis

Tracing the genesis of the new Betsy is easy to notice a definite trend. 'Home' was literally saturated with abstract philosophical wisdom. 'The Dark Knight' has achieved perfect harmony and balance between mythology characters, and the illusory aspect of real social and ethical issues, corrosive civilized world. 'The Legend', unfortunately, loses all the charm and rich artistic variety of the previous parts, turning pale in the political thriller, in which the concept of accumulated wealth is squandered in the most superficial and rough interpretations. But, before you reveal the ideological, composite and even a technical failure of the painting is necessary to delve into the narrative structure of the film, the complexity and cunning construction of which can enter into a stupor is not a single spectator.
After 'Dark Knight' was held for eight years. Gotham clean. Batman still in disgrace as the enemy of the people, and Wayne was plunged into a deep depression. One day, he encounters a servant (Hathaway), which is not directly his eyes steals the family necklace. Wayne intrigued and fascinated. It turns out that this is the legendary thief, Selina Kyle, Catwoman. This time, she acted on the request of a familiar audience for the first part of the 'League of Shadows'. But they need not have been a necklace of Bruce, and his prints. What for? Wayne will learn about it from the morning papers, he is now - bankrupt. Bruce hastens to reassure certain Miranda (Cotillard). Wayne warmly thanks her (and twice near the fireplace). Then dress up in a suit and after a long break is sent to rescue the city from the terrorist threat, the new head of the 'League' Bane (Hardy). Apparently, weakened (by no means, nonrandom) caresses Miranda, Betsy suffered a crushing defeat. Unmasked Bruce is sent to prison, well ... While Wayne is resting on the bottom of it, 'The League' successfully performs social and political upheaval in the spirit of the great French Revolution. Bain overthrows the capitalist dictatorship and establish democracy. Rabble triumphs, set lynching. Gotham is cut off from the rest of civilization and becomes a state within a state, protected by the power of a nuclear bomb. Underground struggle with the 'new government' lead Commissioner Gordon (Oldman) and Officer Blake (Gordon-Levitt). But where they no substantive support in the face of Betsy? .. And at this time he is engaged in psychological introspection, trying to find within themselves the spiritual strength to escape. The key is lost Wayne fear of death. He manages to escape, and soon he finds himself in Gotham. Repentant Celina agrees to help a new coup, between the characters a force irresistible love. Finally, Wayne has something to live for, but at this moment and we have to die to save the city and the raging "mob" ... But this is not the end.
Already in the first part of the franchise successfully Nolan skillfully and professionally masked the main threat to the United States - the so-called terrorism under clothes 'League of Shadows', an extremist organization that is fighting against the evils of capitalist society. To protect the latter I got up Bruce Wayne is probably one of the brightest of its representatives - the billionaire industrialist and aristocrat. he suffers from his position, handing out money to shelters, criticizes social events. Batman appears as a kind of personification of the conscience of Bruce. 'The Dark Knight' was good because it is constantly decentered entire ethical system of the film. Polymodal, ambiguous images of heroes shuffled like a deck of cards in the hands of the almighty Joker - a representative of pure chaos, a fatal destiny as a paradoxical coincidence ... It's amazing how much the background of this discourse regresses 'Renaissance'
Revolution Bane interpreted as a normal act of terrorism.. Batman getting back on defense istiblishmenta and police, protecting thus omnipotent system "matrix", and not the people as claimed. Teams here are clearly divided into friends and foes. The last chapter of the "League" Ra'c Algul (Neeson), antinomian the embodiment of goodness and of terror, violence and wisdom, giving way to Bane, which is true, too, is not without controversial and interesting features, but compared with the past villains (or rather 'anti-heroes' ) its way too fancy, texture, clichéd. More interesting is the situation itself established anarchy and people power, where 'everything is allowed', and finally turns into a moral character. However, for some reason it does not develop, and even deliberately depotentsiruetsya. But why Nolan so inefficiently uses such a rich field for their favorite social-ethical and existential and moral problems? I think the matter of censorship. All sharp ideological corners deliberately blunted and cut off the excess for the sake of profit. Of nuclear thriller, brilliant critic of the system itself, its cell values ​​and unstable concepts (by her own guns in a blockbuster) the film became a castrated opposition politician, which is somewhere repeats itself, does not that just promise, and in general, is not so he was a radical.
As for the composition of the picture, there is also not clear. Nolan relies on dialogue, subtext and hidden ideological debate, which is untenable and false. First two hours of tape, just proceed in conversation, often too complicated, polysyllabic, and most importantly, come to nothing major. On whom they target? Teenagers, ie primary audience will miss all of the information on deaf ears, but thanks to the myth of Nolan will be assumed that said something very important and profound, to what they still need to grow. A adult and educated people immediately see through what they offer fake. The only thing you can not take away from the brothers Nolan - the ability to gently untie the cunning plot knot in the end, turning so all previous intellectual and psychological clutter in the tone of rationalism, logic, patterns and even genius. But here is whether or not they really are and not a similar technique as the usual hoax heroes "Prestige" - a big question
Ironically, the film fails even on a purely technical side.. There is no trace of high artistic expression of the last picture in which only a great introductory robbery scene was more expressive than all the film. Nor any special visual solutions, no emphasis on the construction staging and game characters. All catastrophically standard. Enthusiastic emotions causes only Anne Hathaway, whose acting talents approaching the level of Audrey Hepburn. Unfortunately rated PG-13 imposes a significant imprint on the whole dynamic of the film as a whole. Fighting look terrible, just a caricature, the blood does not even appear on the machine gun fired at close range, and people are dying more paintings than in the theater
success of the film -. It is the result of exceptionally brilliant work of marketing and mythological ideas about Nolan (which he can see It takes himself). Despite all of the above, in the context of the common traditions of today's cinema, the film, however, is quite decent, even good. But if we consider it from the perspective of Nolanovskoy same coordinate system, it becomes clear that the author was unable to hold the highest bar, which itself once and lifted. Obviously, the "Knight" has not yet matured and created as if under duress, during the break between such giants as "Home" and "Interstellar", but still under the clear ideological pressure. The completion of such a project requires enormous time, all creative forces, a full commitment. This chivalry, truly tragic self-sacrifice, not just a brilliant performance ...

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