They’re all orphans. We’re all orphans. Bruce Wayne (Christian Bale) is the orphan of murdered parents. So is the child of R’as Al Ghul. Idealistic young cop John Blake (Joseph Gordon Levitt) – yup, his parents are dead too. Even Commissioner Gordon (Gary Oldman) has been orphaned in a way by his family who moved to the safety of another city. In the later half of the film, Gotham – itself a character in Christopher Nolan’s epic trilogy – whose bridges have been destroyed and tunnels blocked, becomes orphaned by the rest of the nation. Then, of course, there is Gotham’s downtrodden citizenry, orphaned by the elite. And what, pray tell, do these orphans do? They get angry. They rise up.
It’s fitting to have this Dickensian theme of orphans running through Nolan’s tale, as he closes out the film with a quote from Dickens’ classic opus on the French revolution, A Tale of Two Cities. But unlike Dickens, Nolan lives in a world of Al Qaeda, and it’s terrorism and fear that act as the impetus to revolution in Gotham.
Eight years following the events of The Dark Knight, Bruce Wayne is hobbled, disheartened and reclusive in his opulent manor. The streets of Gotham are clean thanks to Commissioner Gordon and the Dent Act (itself a piece of corrupt subterfuge) but there’s an economic crisis brewing. A cat burglar (Anne Hathaway, who brings a welcome slinky theatricality to her pivotal role) absconds with Bruce’s mother’s pearls. But he’s got even more lady problems with Miranda Tate (Nolan muse Marion Cotillard) who looks to take a controlling interest in the crumbling Wayne Enterprises. Meanwhile, a master terrorist named Bane (an unrecognizable Tom Hardy) orchestrates a daring mid-flight kidnapping of a nuclear physicist. These events set the wheels in motion, and from there it’s full tilt towards an explosive climax where all parties mentioned play an integral part that isn’t always made clear until that key turn of the screw. Continue reading