The Los Angeles Times recently published a thought-provoking profile of a well-dressed British filmmaker you may have heard of, read about and obsessed over in recent months. With the hopes and dreams of hardcore and casual Batman fans everywhere resting squarely on the shoulders of Christopher Nolan, the profile offers some insight into the mysterious world of the “Dark Knight Rises” director, who has neither a cell phone nor an e-mail account.
The article begins with a visit to the Cardington sheds, the 15-story-tall former home of Royal Airship Works, now one of Nolan’s technical bases of operation. The sheds housed the sets for the Narrows and Arkham Asylum in “Batman Begins” and the rotating hallway of “Inception.” For “The Dark Knight Rises,” the structures held “a cruel and exotic underground prison.”
The write-up also includes some plot details that could have been easily surmised from the trailers and TV spots all over the Internet yet still remained somewhat up in the air. The angry, bearded Bruce Wayne from the trailer is, in fact, the result of an eight-year break from playing Gotham’s silent guardian. He is now a recluse, who uses a cane to talk about a “sealed-off wing of Wayne Manor.”
There may also be more to Bane and his plan for Gotham than the trailers would suggest. Everything released up until now more or less points to the terrorist’s plan being simply destruction, but that might not be the case. The article describes Bane as such: “Like a brawny butcher swinging a cleaver, there’s no hesitation or empathy that slows his hand as he goes about his wet work amid the body count. Anarchy spreads but the chaos is only a cover from Bane’s true plans — those, like the villain himself, are difficult to unmask.”
By all accounts in the piece, “The Dark Knight Rises” will be a film that requires multiple viewings, since its third act comes packed with meticulously plotted twists. Geoff Boucher, the profile’s author, says that the movie will go where no Batman movie has gone before.
“The third movie, especially, has the calibrated plot gears and satisfying story clicks that made ’The Prestige’ and ’Memento’ multiple-viewing material for disciples of the director’s film,” he writes. “The third act of the third film delivers a series of jolting twists and jarring turns and an exclamation point climax. Nolan’s finale takes Batman and his on-screen mythology to a place it has never been before.”