Three viewings of The Dark Knight Rises leave me feeling that this film has been over-watched but under-interpreted. Its release was, of course, briefly overshadowed by the terrible murders in Aurora, CO, but hand-wringing about the movies/violence, or about gun ownership/gun homicide quickly gave way to the rest of the summer movie season. Dialogue about a character committed to non-lethal restraint in his attempt at loving a city was superseded by repeat visits to Finding Nemo, explorations of financial corruption in Arbitrage, the magnificent humanist drama Beasts of the Southern Wild, the moral force of metaphor for unthinking nationalism Killer Joe, the delicate harshness of childhood in Moonrise Kingdom, the moving journey into memory and love of Robot & Frank, the glorious, extravagant vistas of Samsara, the surprising mercies of Searching for Sugarman, the morose yet tender self-reflection of Sleepwalk with Me, and the amusing but cheap political shots of The Campaign.
Yet the Dark Knight is still rising, the debates about guns and movies and killing are still waiting to be had, families in Colorado are still grieving. So if we’re going to take cinema seriously – which, if you believe in the power of art to interweave with autobiography, is indivisible from taking life seriously – we’re going to have to keep talking about Batman’s bad summer.
In the aftermath of the shootings, the debate about guns remained fixated on the understandable but superficial talking point polarities of “Ban them!” on the one hand and “Guns don’t kill people!” on the other; meanwhile, movies were largely either blamed for everything (in puritanical quarters), or responsibility denied (in liberal ones). A sign of light emerged when mogul Harvey Weinstein called for a summit of his colleagues – the Scorseses and the Tarantinos and so on – to discuss violence in their movies, and its potential impact on the world outside the theatre.
Read the rest of this article at the Brehm Center Reel Spirituality blog