5) Batman Vs. Bane (The Dark Knight Rises, 2012)
Most comic book movies are about superheroes and supervillains, leading to a vast swathe of films that are brimming with violent fight scenes. They have become almost an art form in themselves, with filmmakers attempting to find ever more creative ways of presenting these physical battles between good and evil. Every once in a while, however, there is a fight scene that is so striking in its nature, that it resonates throughout the entire movie, and stays with the audience long after the credits roll. The epic showdown between Christian Bale’s Batman and Tom Hardy’s Bane in The Dark Knight Rises is one such showdown, and the reason it works so well is because Bane is not just coming after our hero – he’s coming after us.
Bane is a fearsome and terrifying creature. A militant revolutionary, he was excommunicated by the dastardly League Of Shadows due to his overly-intimidating nature. He is a contradiction in terms, however, as the disturbing mask from behind which he spouts his articulate proclamations is also his greatest physical weakness. It sustains him with the delivery of an analgesic gas, intended to relieve him of the chronic pain caused by injury from years before. Appearing in Gotham at a time when Batman has vanished from the streets, and Bruce Wayne is a virtual recluse due to overwhelming grief, Bane publicly declares war on the rich and the corrupt that are oppressing the “ordinary citizens.” Eventually drawing an older, wearier Batman out of his retirement, Bane and the Dark Knight are headed for an inevitable showdown.
But, at this point in the story, it is considerably more complex than ‘good guy vs bad guy.’ Sure, Bane is an unhinged and horrifying killer, but he also manages to kick-start a public debate about social inequality. He is styling himself as something of a ‘freedom fighter,’ and both Batman’s identities are his enemy. But herein lies the power of Tom Hardy’s Bane – irrespective of his ulterior motives, his arguments are addressing issues that are current and uppermost in the minds of most of the audience. 99% of them, you could say. At the same time, in this showdown, he takes a character that has been our beloved hero for over 70 years, and gives him such a brutal beating that we ourselves feel vulnerable. Our favourite vigilante, our Dark Knight, our hope for justice – is physically outmatched by this unspeakable abomination.
Batman is delivered to Bane by Selina Kyle (aka Catwoman). The scene plays out with many stereotypical elements present – the industrial-style setting (being Bane’s underground lair), the monologuing villain revealing his true intent, the stirring and menacing music – but its significance to the plot and our connection to these characters makes it much more. With villainous onlookers observing from the sidelines, the confrontation has the look of an epic cage-fight – bolstered with the moves employed by the enormous Bane.
The two adversaries begin fighting on a relatively well-lit, elevated walkway – Batman throwing punch after punch, accompanied by grunts of effort, and Bane silently returning the blows. Soon, however, Bane kicks Batman – like a rag-doll – over the handrail, and the two descend into the depths of the tunnel. Down there it is shadowy and dank, with water raining down, and space for Bane to circle his opponent, revelling in detailing his plan. He reveals, explosively, that he has seized Batman’s armoury and, as he pounds his fists into Batman with clinical precision, Batman struggles to his feet one last time.
“Ah yes!” exclaims Bane. “I was wondering what would break first!” Bane grabs Batman and lifts him above his head. “Your spirit, or your body.”
He drops him onto his raised knee, and our hero falls to the floor – defeated, with his mask snapped in two.
