Hardy looks like he could have played the Hulk - with a CG Bruce Banner - and is more than convincing as the man who could break the Bat. Rises asks other probing questions: Can you redeem without sacrifice? Can revenge bring peace? What the bloody hell is Tom Hardy saying?Īctually, the preview footage palaver about Bane’s babble is largely irrelevant: he may sound like Sir Ian McKellen gargling meths in a wind tunnel, but the verbal clarity of the masked, muscled monster is never as important as his brute bulk (though he does have some memorable vocal barbs).
Not that Nolan ever really wanted his Batman to be ‘super’ - instead, he posed what proved to be a compelling question: what if this were real? Sure, it’s hardly Ken Loach’s Batman (though we’d pay to see that: about a Hackney bat-wrangler with anger issues), but Nolan bends more rules of physics than he breaks, with his heart focused on the heart of Bruce Wayne: a child traumatised by the murder of his parents and raised with a rage he cannot quench. Still, whether you believe this betters Begins or eclipses Knight, it is certainly a satisfying conclusion to what is now - we’re calling it - the best superhero series of all time. He raised the bar so high, no-one could be expected to clear it. It’s not as impressive as The Dark Knight.” In this - as within Rises itself - he could be said to be the victim of his own success. Now, a short seven years later, Nolan could deliver the print of his trilogy topper in a chariot drawn by flame-breathing unicorns with diamond eyes and some people would still shrug and say, “Meh. In 2005, when Christopher Nolan rebooted and resuited Batman, the cinematic reputation of the Caped Crusader was at a pitiful low after the gaudy debacle of The Film That Shall Not Be Named.
As The Dark Knight Rises, so has anticipation.
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