Welcome   |   Login   |   Sign Up   |

THE DARK KNIGHT RISES/ An apocalyptic clash in search of humanity

EMANUELE RAUCO reviews The Dark Knight Rises, the much anticipated third movie of the Christopher Nolan Batman trilogy, on the occasion of its release in Italy.

A scene from the film A scene from the film

This is the definitive proof, beyond the success or failure of the film itself, that the comic book and its film version can be material for a great novel, a Dickensian novel, as some have said, seeing a parallel between The Dark Knight Rises and Tale of Two Cities. The third segment of the trilogy directed by Christopher Nolan - and one of the most feverishly anticipated films of recent years – errs on the side of excess by trying, and succeeding almost entirely, to structure a grand apocalyptic novel around a superheroic figure.

After having assumed the responsibility for the death of attorney Harvey Dent, Batman was forced into a life as a fugitive. Eight years later, the appearance of the mysterious Selina Kyle sets off a chain of events culminating in the arrival of Bane, a terrorist who seeks to destroy Gotham. With the fate of the city on the line, it is time for Batman to leave his exile and confront his formidable opponent.

Written by Nolan and his brother Jonathan and David S. Goyer, The Dark Knight Rises is a resounding action film that becomes a parable about the end of the world and at the same time a metaphysical reflection on good and evil with a semi-nihilistic slant.

Starting from the concepts sown in Batman Begins and sprouted in The Dark Knight, this final chapter depicts the inhumanity of the protagonist, i.e. the conflict between man and hero, and describes a world that perhaps deserves to die, since civilization is almost wiped out or false in that heroes are not human and are forced to become symbols, whether alive or dead. With everything centered around the dichotomy between absolute and necessary, rather than between good and evil, the film by Nolan takes Gotham as an allegory of a world that is not ready for salvations, redemptions and heroes, but that one cannot help but want to illuminate, in the relationship between finance and politics as an attraction of all evil and Bane as a symbol of explosive populism everywhere, even in Europe, which turns into nihilism, into the destruction of any kind of reason, into ideological/religious fanaticism.