Batman Must Die: An Analysis of the Dark Knight Trilogy

I want to start off by doing something that many fans of Christopher Nolan’s Dark Knight trilogy have done in recent months. I want to make a prediction regarding Bruce Wayne/Batman’s fate in The Dark Knight Rises (20 July). I predict that Batman will die in the final film of Nolan’s tale. To clarify, this does not mean that I necessarily believe that Bruce Wayne will perish in this film. He could hang up the cowl for good and never return to his alter ego again, and for all intents and purposes, I would consider that the “death” of Batman, even if Wayne manages to survive his encounter with Bane.

I know that this has been a common prediction among fans, many speculating on the role that Joseph Gordon-Levitt’s Gotham cop John Blake plays in the future of Batman, but most of these predictions have been mere guesses and conjectures, with little evidence to support them. I, however, feel that the answer to Batman’s fate in The Dark Knight Rises has been hiding under our noses since the release of 2008’s The Dark Knight, specifically in the last sequence of the film. The answer to me is simple: The Dark Knight trilogy is an allegory for the life of Jesus of Nazareth.

Before you write this off as a Christian Batman fan grasping at straws, I wish to point out that this theory comes from a non-religious viewpoint, using only the story of Jesus of Nazareth as evidence to support my claim. I’m no expert on the Bible, but it doesn’t take a theologian to know the basic story of Jesus’ life: He was (allegedly) born to a virgin mother as the human incarnate of God the Son. After being baptized by John the Baptist, Jesus spent the last few years of his life spreading the Word of God by teaching, preaching, and performing miracles. During this time, Jesus had gained a small but loyal group of followers, known as disciples, but was betrayed by one of them, leading to his arrest. After a short trial, Jesus is sentenced to death and is crucified, which most Christians believe was God sacrificing his only son so that the sins of all believers may be forgiven. Three days after his death, Jesus is risen from the dead, after which, following a few appearances to his disciples, he ascends into heaven. Most Christian doctrines agree that Jesus will return to Earth one day for the Last Judgement, although that has yet to happen. Of course, this is a very broad and general description of the life of Jesus, but it will suffice for the purposes of this article.

Now, allow me to apply these principles to the Dark Knight trilogy, film by film:

Batman Begins

From the get-go, we learn that Bruce Wayne is the son of Thomas Wayne, the richest and, arguably, most influential man in Gotham. The elder Wayne has a larger-than-life image to the people of his city, who consider him the man who built Gotham into what it was (for better or for worse). His name, after all, is on buildings throughout the city. Perhaps Thomas Wayne is a symbol for God, the Creator. Thus, Bruce Wayne would be the Son of God, or Jesus.

After failing to assassinate his parents’ killer, Wayne embarks on a journey in order to gain the skills needed to free Gotham from the crime and corruption of the underworld that lurks just beneath the city’s surface. Eventually he finds himself at the doorstep of the League of Shadows, where a mysterious man named Ducard offers to teach him the skills and mental mindset needed to achieve his goals. Despite the revelation that Ducard really wishes to free Gotham from the evil that threatens to overtake it by destroying the city and the chaos that follows, the training that Wayne receives from the League of Shadows is instrumental in his becoming Batman. In this regard, Ducard represents John the Baptist and the training is Wayne’s baptism, which directly leads to the emergence of Batman as a public figure.

As Batman, Wayne attempts to free the people of Gotham from the fear in which they live their lives, with mixed results. Along the way, however, Batman gains several key followers, or “disciples”, if you will: Lucius Fox and Jim Gordon become Batman’s most powerful allies, and Rachel Dawes is his confidante.

Following the defeat and death of Ducard/Ra’s al Ghul, Batman becomes a public hero to the people of Gotham, representing Jesus at the height of his popularity and influence. Therefore, Batman Begins chronicles the origin and rise of Jesus from a Jewish carpenter to the harbinger of a new school of thought and way of life.

The Dark Knight

In the context of this allegory, the first major scene in The Dark Knight is that in which Batman impostors attempt to stop a crime, only to be bailed out by the actual Dark Knight himself. This scene illustrates exactly the kind of influence that Batman has established over the people of Gotham, which is a symbol of the type of influence that Jesus had over those who heard him preach during the height of his popularity. Interestingly, it was that almost maniacal influence that signaled the beginning of the downfall of both Batman and Jesus.

As the Joker goes on a killing spree, demanding that Batman reveal his true identity, the public, who once praised the Dark Knight, begins to turn on him, realizing that the Joker probably wouldn’t even exist if it weren’t for Batman. His credibility as a viable crime fighter comes into question, just as Jesus’ claim as the Son of God was doubted before his arrest and trial.

Before this, however, Batman gains another powerful ally in the form of district attorney Harvey Dent, who first utters the words “You either die a hero or live long enough to see yourself become a villain” to Bruce Wayne, a phrase which applies to the rise and fall of both Batman and Jesus and to which we will return later. As it turns out, Dent ends up becoming the disciple who betrays Batman, a bullet (rather than a kiss) effectively marking him as the man to blame for the degeneration of Gotham. Harvey Dent becomes Batman’s Judas; it was Dent’s actions that forced Batman to “sacrifice” himself so that Dent’s sins could be forgiven and the people of Gotham could be saved. Sounds an awful lot like Jesus’ crucifixion, doesn’t it?

“[…] he’s the hero Gotham deserves, but not the one it needs right now. […] he’s not our hero. He’s a silent guardian, a watchful protector.” Those are the words that Jim Gordon says to his son after Batman decides to take responsibility for Harvey Dent’s crimes. If there is any one sentence that best illustrates the comparisons between Batman and Jesus in the Dark Knight trilogy, that’s the one.

The Dark Knight Rises

Of course, since The Dark Knight Rises hasn’t been released yet, this is where the predictions come into the picture. However, since Batman Begins chronicles the origins and rise of Batman and The Dark Knight chronicles the fall of Batman, should the allegory ring true, The Dark Knight Rises should chronicle the resurrection and ascension of Batman. Here’s how I think it will happen.

We know that The Dark Knight Rises takes place eight years after the events of The Dark Knight, during which Bruce Wayne lives as a hermit, Alfred being his only companion. However, when a new super-villain threatens Gotham, Wayne returns to the cowl and resurrects his alter ego in order to protect the city that he sacrificed himself to save.

Obviously the idea of resurrection has a direct connection to the life of Jesus, albeit in a much shorter time frame. Nonetheless, the notion that Batman rises from the ashes of Wayne Manor to become a beacon of hope for the city of Gotham once again is very Christ-like in nature. Granted, Frank Miller originated the idea with The Dark Knight Returns in the mid-’80s, but none of the previous allegory is present in Miller’s work, and for this reason I think the 2012 version of TDKR will turn out a bit differently than the 1986 version.

For starters, I think that Batman will defeat Bane on his own, a point that has been hotly contested among fans for quite some time. I don’t think that John Blake turns out to be Robin, and I certainly don’t think that he takes up the mantle of Batman after Bruce Wayne’s incapacitation. Why? Because the peoples’ faith in Batman needs to be restored before the end of this film. When Jesus rose from the grave three days after his death, he first paid visits to several of his followers, all of whom had forsaken him during his crucifixion. He made believers out of his nay-sayers, and so too will Batman in The Dark Knight Rises.

Furthermore, it is my belief that Batman will perish either during or immediately after the defeat of Bane, fulfilling the final recorded chapter of Jesus’ story: ascension. Batman will save the city of Gotham from the evil that threatened to destroy it before saying goodbye to the city as a hero that will be remembered for generations. I’d like to say that Bruce Wayne is killed during the battle, fulfilling Harvey Dent’s phrase “You either die a hero or live long enough to see yourself become a villain”, but if Wayne survives and decides to simply hang up the cowl, there is the possibility of the eventual return of Batman, putting the icing on the Jesus allegory and confirming my suspicions in grand fashion.

Either way, the similarities between Nolan’s Batman trilogy and the story of Jesus are too numerous and specific to be notched up as mere coincidences, and given the allegory present in the first two films of the series, I can’t fathom that The Dark Knight Rises doesn’t continue the trend.

But I suppose we’ll all find out on 20 July, won’t we?


ThatFilmGuy is the founder of That Film Channel as well as its main contributor. Follow him on Twitter: @theREALjshaff

Now Playing Review: The Amazing Spider-Man (2012)

The Amazing Spider-Man (PG-13)
Directed by:
Marc Webb
Starring: Andrew Garfield, Emma Stone, Rhys Ifans
Release date: 03 Jul 2012
IMDb: 7.8 | RT: 72% “Certified Fresh”
TFC Rating: A

Coming on the proverbial heels of an entire trilogy of Spidey-flicks, The Amazing Spider-Man chronicles the origin of everybody’s favorite web-crawler, from a moody high school outcast to NYC’s top volunteer crime-fighter. After his parents disappear into thin air, Peter Parker (played with spectacular aplomb by Andrew Garfield) is left to be raised by his Uncle Ben (Martin Sheen) and Aunt May (Sally Field). Now in high school, Parker discovers a secret of his father’s and follows the trail to labs of Dr. Curt Connors (Rhys Ifans), who worked with Dr. Parker before his disappearance. After becoming infected by an experimental spider venom, Parker must use his new-found powers as Spider-Man to stop a mutant lizard from infecting all of New York City — all while trying to discover himself in the process.

The Good

Perhaps the biggest asset this (some would say) premature reboot possesses is its stellar cast, starting with the leading man himself. Andrew Garfield is exactly the Peter Parker this film needed: moody, sarcastic, nerdy, and, at times, lost. He plays the roller coaster ride of being a teenager with such skill that I would never believe that he was 28 years old if I hadn’t already known. But the supporting cast is just as impressive, pretty much all-around. Emma Stone shines as Parker’s pre-MJ love interest, Gwen Stacy, and Rhys Ifans plays a wonderfully torn villain, caught between his own self-interest and his desire to help other people. Martin Sheen and Sally Field are great as Parker’s adoptive parents, and Denis Leary channels his Rescue Me spunk as Police Captain Stacy.

For the most part, The Amazing Spider-Man follows a pretty standard superhero flick plot, but it’s the evolution of Peter Parker from a vigilante seeking vengeance after a personal tragedy to a White Knight who risks his life to help others that really makes this film intriguing. This evolution can be traced to one perfectly written and acted scene, in which Parker must choose between going after the fleeing Lizard or saving a child trapped in a car dangling over the Hudson River. The car catches fire, and yet Spider-Man risks his own life to save that of the child, effectively becoming a bona fide superhero. This is an evolution that we rarely get to see in superhero films, at least to this level of effectiveness, and it really adds to the emotional gravity of this film.

The Bad

As stated, The Amazing Spider-Man follows a fairly standard and straight-forward superhero plot; there aren’t a lot of twists and turns in this one. I wish that more superhero films followed Christopher Nolan’s model of complex and multi-faceted stories in blockbuster films. The Dark Knight Rises promises to have The Prestige-esque plot twists and turns, so why shouldn’t the rest of the superhero films? Just a thought.

And then there’s the issue of whether or not this reboot, coming just ten years after the start of Sam Raimi’s Spiderman trilogy, was really necessary, or if it was just an attempt to garner box office earnings. If you ask me, The Amazing Spider-Man is too quality a film to be notched up as simply a money-making scheme. Too much talent and money went into this film for that to be the only explanation. Personally, I feel that the Spiderman franchise was in dire need of a reboot. I don’t think that Tobey Maguire was the Peter Parker that Peter Parker deserved, and I thought that Spiderman deserved the Batman Begins treatment. For better or for worse, that’s exactly what he got, and for my money, I’m sticking with the former.

The Bottom Line

The Amazing Spider-Man is no revolution in the superhero genre of film. It follows a standard plotline and delivers on the action in all the right places. But the acting sets this film above most of the rest of the Marvel roster and makes this a film well worth seeing, even if you don’t necessarily agree that it needed to exist so soon.


ThatFilmGuy is the founder of That Film Channel as well as its main contributor. Follow him on Twitter: @theREALjshaff

Now Playing Review: Brave (2012)

Brave (PG)
Directed by:
Mark Andrews, Brenda Chapman
Starring: Kelly Macdonald, Billy Connolly, Emma Thompson
Release date: 22 June 2012
IMDb: 7.7 | RT: 76% “Certified Fresh”
TFC Rating: B+

With its latest film, Brave, all-star animation studio Pixar treads into territory usually reserved for its parent company, Disney: the princess fairy tale. Merida (Kelly Macdonald) is the headstrong daughter of royal couple King Fergus (Billy Connolly) and Queer Elinor (Emma Thompson). When it comes time for the princess to be granted a suitor, Merida rebels against her mother and her heritage, wishing to forge her own path. Her rebellion, however, comes with unintended consequences for the kingdom and for her family, consequences that can only be righted with the bravery to fight, as well as the maturity to compromise.

The Good

Visually speaking, Brave is Pixar’s greatest achievement since 2009’s Up. The computer-generated landscapes of rural Scotland translate beautifully to the screen, and for a moment, it’s easy to forget that you’re watching a cartoon and not a live-action film. It’s going to be interesting to see just how much Pixar can up their game technologically in the coming years. If Brave is any indication, we’re all in for some real treats, although I doubt that Monsters University will be the film to deliver the visual goods.

When it comes to the story, Brave delivers in all the areas we would expect from a Pixar film: It’s a kid-friendly tale spun with themes and jokes that adults can appreciate, as well. In particular, themes of fate, tradition, and family ring throughout the film, coming to an emotionally-charged climax between mother and daughter that we don’t often get to see in mainstream media, which so often focuses on the relationships between fathers and sons.

The Bad

However strong the story, however, it just didn’t seem to carry the same gravitas and maturity as most of Pixar’s most recent efforts, namely Up, WALL-E, and Toy Story 3. Because of its fairy tale setting, Brave at times felt like a Disney film brought to you by Pixar, rather than a Pixar film brought to you by Disney. Granted, this is particularly strong Disney-esque material, but I couldn’t help but feel like we’d seen this story told before. Parts of the film felt as though they mimicked Disney classics like The Lion King and Aladdin, and Merida seems like she could get lost in the roster of Disney princesses.

To me, Pixar equals originality. This is why LucasFilms dropped the division and why the studio was so at odds with Disney in the beginning. This is why Steve Jobs latched onto the project and why Toy Story shook the world when it was released 17 years ago (yes, ’90s kids, it has been that long). So why, then, is Pixar choosing to produce and release a film that would fit much better with Disney’s stable of animated fodder? I don’t know, but I can only hope that Pixar is over their fairy tale bug and their next original production is a little more…original.

The Bottom Line

Brave is a typical Pixar film in a lot of ways, and it’s certainly a lot better than Cars 2. Kids and adults alike will find joy and depth in this film, and it may very well be a shoe-in for Best Animated Feature at this year’s Academy Awards. But one just can’t help but feel that something is missing from Brave that separates it from the rest of Pixar’s classics. I wouldn’t say that Brave is a disappointment; it’s a visual achievement and the cast and story are strong, but it’s just that little something. You might not know exactly what it is, but you know that it’s not there.


ThatFilmGuy is the founder of That Film Channel as well as its main contributor. Follow him on Twitter: @theREALjshaff