Archive for July 21st, 2012

By Bob Clark

It almost seems inevitable now that Christopher Nolan’s latest and last Batman movie should find itself treading upon so many political fault lines as it finds itself released this weekend. No, not for the tragic events which occurred during midnight screenings in Colorado or the debate it’s rekindling on the subject of national registration for firearms. And no, not for the false-flag buffoonery on the part of Rush Limbaugh for insisting that liberals would try to make a connection between the name of the film’s nearly 20 year old super-villain and Republican nominee Mitt Romney’s venture capital firm. Not even for the news that Nolan himself engendered when the film’s production shot on location in the New York financial district during the peak of the Occupy Wall Street movement, where the idea was nursed to put the protestors themselves onscreen as stand-ins for economic unrest in Gotham City, though that one strikes somewhat closer to home. Maybe it’s because Nolan allows his real-world vision of Bob Kane and Bill Finger’s comic-book creation less and less fictional filtration in this final installment– instead of the mostly set-bound Batman Begins and the anonymous Chicago look of The Dark Knight, this last film features long action-sequences and skyline shots that prominently feature iconic Manhattan architecture, from the Empire State Building to Trinity Church. As such, it’s harder to let all the explosive histrionics slide, nor the conclusions they help facilitate once all the smoke clears, and the only conclusion I can reach is one that I saw coming back when considering the previous entries of Nolan’s films of the Dark Knight detective– this is a Batman who favors his Right Wing.


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