I warn right away, it is a text to the Film Freak, not a "do the film is good?", Not "the + and -." I do not know if I already had so many difficult to write text. I left the film hovering, euphorisé by the amazing final sequence, the incredible last shot of the film with this title who registers for the first time on screen, much like a endpoint an announcement, a conclusion and a claim. And yet, I'd be lying if I said that I had embraced the whole work in its entirety during the session, no reservations. Nothing huge, obviously, but I was not as resolute in my enthusiasm at the output of the previous chapter. After digestion, I mostly realized that on many points the film surprised me, neither good nor evil, and suddenly I was somewhat taken aback at times, the blame back on a truly false image I had of some aspects of the film. Next too many news sites for my own health cinephile, and given the number of filtered information that I wanted to limit the damage by not watching any trailer past the first. And I may be due. It will be extremely difficult to talk without spoilers but I will try, and to illustrate what I describe above, for example I could give all that is sold by the posters showing Bane and Batman facing each followed by an army of people. I expected it to take a big place in the film and it's finally a brief result of the foregoing. Sometimes what puzzled me is even more detail, such as choosing Tom Hardy in his interpretation of Bane, creating an unexpected contrast between his appearance and voice, a sort of Darth Vader with the accent of Sean Connery. It is very strange. What I'm saying the risk of sounding like a sold is that nothing in the film I did not like was just that I was expecting something else. I think I expected a film much closer to the second, then it is again a totally different experience. It is almost as different as The Dark Knight The Dark Knight Batman Begins is different. In many ways, the film seems to be positioned in an approach somewhere between the two, but it's not quite that. It is clearly less than the theoretical 2, more iconic, like the one. Moreover, he often returns to a mind more "Series B" so to speak. The scale is again a cut above but it is no longer in a film that inspired the Heat The Dark Knight. This is probably even more "comic book" of three, moving from kind in kind, like Inception, which he also inherits a certain size bondienne and SF (the new Batcave is fouyayaaaaaa), between his story and globetrotter McGuffin interests the bad guy. It starts convoluted thriller mode, so The Dark Knight, before giving a course reminiscent of Batman Begins, to finally end on pure film WAR. And despite all that, The Dark Knight Rises this incredible consistency, not only vis-à-vis itself, but especially in the context of the trilogy. And the arc of its protagonist. It is interesting how, formally, the films embrace the path of the hero, born of the night and until the big day. The dominant color of Batman Begins was a brown / tan Twilight, "but the night is darkest Before the Dawn" , a dawn personified by The Dark Knight and a light blue tone. The Dark Knight Rises propels the action in a gray / white cold day in midwinter, but this aesthetic ice is not ominous. The sun rises. The ice will melt. (I avoid spoilers but if you want to be as pristine as possible upon entering the room, stop reading now) None of the films in the trilogy Nolan begins with a title. Each opens with the logo, or rather should I say the symbol, Batman, designed by a different element. In Batman Begins, it is formed by the bat, is his "creation", its "birth ". It literally born of this mass. Bats are several reasons behind the character. In The Dark Knight, it appears in the space between the flame (not flames), it "emerges" from the heat, while giving the impression of being burned (as Gotham City on the poster). This is not the creation of its protagonist but undermined. Its transformation into a martyr, as the end of the film condemns him to be. In The Dark Knight, it appears in the ice cracks, symbolizing a break (like Gotham City who collapses on the poster). But a thaw. The film begins eight years after the events of the previous. "So he's a year older Bruce Wayne, he's not in a great state. He's frozen in time." dixit Nolan. Nolan has always characterized each of the films by a specific theme. For Batman Begins, it was "FEAR". For The Dark Knight, it was "the CLIMB / CHAOS". For The Dark Knight Rises is "PAIN". When we find Wayne at the beginning, we remember that Nolan was a time wanted to make a film about Howard Hughes. We find a guy who does not want to wear the mask, be it that of one of Batman or Bruce Wayne, because him that the pain became overwhelming. According to Christian Bale, the arc of the character in this film is finally to confront the pain of the loss he has postponed indefinitely while fighting criminals. I already said in my review of Inception, the protagonist nolanien is "driven by an obsession, consumed with guilt, haunted by the lost and constantly wanting to have control over his world, a world where it is increasingly difficult to locate reality " and Batman is a guy "who puts on a mask (but what is the real mask, Wayne or Batman?) to resume his vi (ll) e in hand" and like any nolanien protagonist, his salvation seems to lie in an illusion, allowing him to escape his guilt "for having indirectly caused the death of his parents / Rachel Dawes for Bruce Wayne (he admits the reality but creates an alter ego to survive and the second Once, he admits the reality so it takes him squarely on the crimes of Two Face), etc.. " Bale added: "It Does harken back to this guy That notion That Originated from great bread and He Has to address that - aim at what points does it Become indulgence? The issue is: how long do you allow bread to Dominate your life? He Has To try and answer That and move on. " The whole film is that. In the first, it created an alter ego to escape the fear and pain. In the second, he was faced with the reality of the consequences of its presence in Gotham. In the third, he must face the pain, and overcome, it must " rise "above it . To this end, The Dark Knight Rises is perhaps closer to that of Batman Begins The Dark Knight. I have always found the cretinous remarks on Batman Returns and The Dark Knight like "Batman is almost missing ". This is profoundly stupid as criticism, reflecting the thought of someone who completely misses the treatment of the subject, as if the deepening of a character is measured exclusively in terms of minutes on screen. We see no probably more Bruce Wayne as Batman in this third installment. And this is what gives all his humanity to the film. It's like that. Item. And as such, this film is incredibly couillu. From beginning to end. Diegetically time spent between the two films, the basic premise, the situation of Wayne early in the film, and in the middle, and end ... This is HIS story. Even when it is the wicked who are on the screen, it's Bruce Wayne as the movie deals. I had said before, in Nolan, any character (secondary) is a concept, or almost. Regarding the Joker I said: "through him is embodied the whole theme of the film. It is an illustration, it is an almost abstract character (...) The character of the Joker is not exactly a protagonist. rather it is the engine of the plot. (...) He is the great demiurge of the film ... one that creates situations and imposes the rules of the game (and thus the film). It is probably more fascinating that it never has been. " Like the Joker, Bane embodies the theme of the film, the pain. In the comics, he wears the device is there to inject steroids, making him a guy overkill. In Nolan, the device he wears is to inject sedatives, making him a guy constantly in pain. Making him the reflection of Wayne. Or its antithesis. Even his mask is like an answer to that Batman (the lower face of Wayne is not covered by the mask of Batman while the lower face of Bane is covered by his mask and vice versa for top of the face). His suit to him is a patchwork low-fi where the Batman costume is a hi-tech armor. Bane grew up in a prison in Wayne Manor.





















































And as the Joker, he embodies an absolute. To chaos followed by a physicality that Batman symbolisele challenge that awaits. His physique is not there just so that there is a massive bad guy, the guy who will crack the hero. There's a replica of Bane which is very telling:


It is also clearly another concept that goes to torment Wayne / Batman: the truth.
Still on The Dark Knight, I wrote: "in Nolan's films more than any other adaptation of Batman (and perhaps even more than a lot of comics), the villains are more terrorists than figure of merry devils. "
It goes without saying that the specter of September 11 that hovered over Batman Begins and The Dark Knight is still there.
For the first, I said: "One can easily see Ra's and the League of Shadows, sect that wants to destroy the Terror the megalopolis symbol of decadence, like Bin Laden and Al Qaeda, with the manor Wayne instead of the Twin Towers to be rebuilt; without rely on fear to turn against those who are spreading terror ... The film has no "substantive" policy but cleverly used the news to illustrate his point ("You always fear what you do not understand", "Don 't be afraid, "" There's nothing to fear objective fear itself "blablabla)"
The film called "Why do we fall?" To learn to get up, he replied.
The Dark Knight himself, asked more questions. Of "elements of the scenario are definitely there in analogy to the methods used by the Bush administration during the" War against terrorism "but precisely they are there to ask, as well as the general theme of the film: up where can we go? " Extradition, torture, invasion of privacy, all the appeals were finally convicted and Batman found himself forced to carry the can for now the hope of Gotham.
Since the first film, the aim of the wicked seems be to destroy Gotham but also the hope of the people of Gotham. And since the beginning, the aim of the trilogy seems to be keeping that hope. A quest across the city but also a human scale since it is this hope that Wayne must cling to proceed.


Another legacy of Inception, it is the nature of decorations, symbols of the spirit of the characters. As that prison architecture improbable, almost escherienne, that keeps telling us to be hell. A key place in more ways than one.


This symbolizes Hell he also Gotham? With this third installment, Nolan trilogy ends on a real city. For Batman Begins, Nolan quoted in Main Blade Runner reference. For The Dark Knight, it was Heat. For The Dark Knight Rises, is - against all odds - The Tale of Two Cities by Charles Dickens. "The novel portrays the fate of the French peasantry oppressed by the aristocracy in the years before the French Revolution, and the brutality of the revolutionaries against the aristocrats in the early years of the Revolution. It follows the lives of several protagonists through these events. Most notable are Charles Darnay and Sydney Carton. Darnay is a French aristocrat fallen victim to the blind rage of revolutionary despite his virtuous nature, while Cardboard that is an English lawyer who seeks to redeem misguided mistakes of his past life and his unrequited love for Darnay's wife, Lucie Manette. " Wayne appears as a mixture of these two characters. Apparently, the book aims to both a portrait sympathizing with the peasants' cause and condemnation of the mass mentality. Y has it in the film that taps once more in the zeitgeist. Indeed, The Dark Knight Rises is obviously reminiscent of the events of the movement Occupy Wall Street, decor that is found naturally in the film, "because it is a symbol of American capitalism" says Nolan. "The story of a self-made multibillionaire hero raises some issues that I deem important in today's world regarding the use and abuse which is the only super-power of Bruce Wayne: a extraordinary fortune. " The film also plays on the idea of inversion.












An inversion that rhymes with truth. A truth must be seen in front (once again) to move forward.
To quote the Bible, "The Truth Shall set you free." There's two particular truths which burst in The Dark Knight Rises, a for Batman, one for Gotham.



The two women in the film are also the potential to move forward.
They also represent each facet of the protagonist.
Miranda Tate is Bruce Wayne is Batman as Catwoman. Each is presented as an equal of the hero in their respective worlds, one on each side of the law. Miranda's rich, philanthropic patron, Selina and the poor thief.
For Catwoman, it's miles of the interpretation was Burton. Fans of Nolan as non-fans will not be surprised to learn that here, Catwoman is not particularly sexual. Miranda is the more honest but as usual with Nolan, women do not define themselves in relation to their sexuality but rather as a figure of the beloved. They are a potential salvation, brunettes substitutes Rachel Dawes.
nolanien The character is often widowed. So, the presence of Catwoman acts as a signal for Batman is no longer alone. There is a woman who disguises herself as him and thinks he's a rectifying wrongs.
To get to what I said above the Batman, this is a very fair statement of Anne Hathaway: "I think Catwoman is dependent on the Gotham City where she lives. Characterization of the character is based on the world around him. What I liked about the role of Selina is that his confidence is not in a rush 'girl power'. His confidence in itself allows it to survive. "
As the Joker, Catwoman is a product of Gotham. And the existence of Batman. Like John Blake, who is like the Harvey Dent in this film, also symbolizing the hope for its scale, the soul of Gotham. The end of Inception left the choice to the viewer to interpret the fate of the protagonist as he wished. Retrieves he really his family, in reality? Or is it a dream? At the time, here based on the purposes of Nolan's previous films, including Memento, I thought for him, Cobb chose to live in an illusion. But when I see the end of The Dark Knight Rises, I tell myself that maybe everything ended well for Cobb, in the real world. I always said the film was qu'Inception-sum of the author and that the film dealt with healing, catharsis. Maybe Nolan he exorcised his demons on his previous film, and today's cinema is more focused on the hope, without involving an illusion.







Hope symbolized by the need to believe in a possibility of life beyond the tragedy and pain (11 septeeeeeembre). In short, it moves like film. Twice I found myself in tears during the film , sincerely moved by the relationship between Bruce Wayne and Alfred, then amused by the ratio between Batman and Catwoman, and then packaged by the iconography of the character, then excited by action scenes, more and more epic than the first two movies together, then carried away by all these details like worms in the awesome Batpod, the roar of the Bat, Catwoman glasses who become his ears, impressed by the consistency of references to various comics series as The Dark Knight Returns, Knightfall and No Man's Land, impressed by the density of the work, who forgives all inequality in the structure or rhythm ... Nolan will be allowed on any such trilogy and signed by his Godfather, closed without further action. The most beautiful one-shot . 6/6