by now, you'll all have heard of the terrible act of James Holmes, lone gunman at the centre of the Denver Midnight Batman Showing massacre.
Below is a review of Christopher Nolan's latest movie The Dark Knight Rises from Cardiff-based film buff and photographer Chad Goulding. From the Get Go you can see that Nolan appears to be using many of the cynical Mind Control tricks he employed in his amazing corporate head-fuck Inception where I too was watching the transfixed audience and in particular the person I was watching the film with.
Chad makes some valid points in this SPOILER RIDDLED film review about The Coming Winter Storm - you were warned, or pre-programmed (it's so hard to distinguish the two these days), shoeple. You are officially fore-warned.
THE DARK KNIGHT RISES
It is well known that Christopher Nolan's directorial style is to pack his films densely. Every scene is thick with plot. There is no downtime. You can't surface for a quick breath halfway through. At a running time of 2h44m there is a *lot* going on in The Dark Knight Rises. Because of this, I'm not going to discuss how Blake stole the show, or analyse the overt symbology of 'The Pit', or ponder on Alfred's heart-wrenching monologues, or the (predicted) cinema massacre, or even lust over how good catwoman looked riding that bike (both meanings intended).
Nope. Instead, lets talk about the audience.
It should have been clear to me a few weeks ago. I was in the cinema waiting for Prometheus to begin. The trailers were running. People were chatting, milling around; not yet settled for the main feature.
And then the Batman trailer began. Suddenly the crowd fell silent. Everyone transfixed. It's fair to say that if Nolan can command such obedience with a trailer, then during the actual film, he can do what he like with you. And sure enough, last night at a 10 o'clock showing I sat in the corner of a packed theatre for 3 hours watching the audience. I was stunned at a level of concentration I'd never witnessed before. Occasionally the sound would dip in volume confirming that immersion was absolute. For a long movie I was expecting a steady stream of people going to and from the bathrooms. But there wasn't.
The first act of the film was essentially a transition from the previous two films into the real content of Rises. Nolan knew he couldn't just prop up another super villian for batman to take down. Instead, he made us think he was going to do that, but then opted to do something far more epic. Namely, give the viewer a discourse on revolution and protagonist transformation. The protagonist thread maintained a deep emotive state in audience. That all made sense. But the revolution bit. Something was off there. What was it? ...
..oh, I remember! It was completely inverted! I was watching a film about the realisation of Free Planet from an Illuminati perspective. Good was bad. Up was down. Summer was Winter.
Bane isn't one of the 1 percent. He arrives in Gotham and makes the network of tunnels underneath the city his home. Hordes of passionate followers are with him in the tunnels, working, building, doing. Its a clear analogy for the internet-based activism. Wasn't there that senator who described it as "A series of tubes"? At the start of the second act, Bane rises to the surface. The goverment get wind of an impending terrorist attack. The heart of which takes place at a sports stadium (an effective tool for population control). As Mayor Garcia and his team enter the building he says something to the effect of "If anyone asks why we're here, tell them its a training exercise". An explicit nod towards 9/11, 7/7 et al. What the audience then sees is a series of controlled explosions across the city. To say it is evocative of 9/11 would be an understatement. Nolan transports the audience back in time. Suddenly I feel like I'm there again. Watching it happen again. For one woman in the audience this was too much. At one point she starts crying uncontrollably.
Bane then does two things. He creates a new society within the confines of Gotham. He doesn't lead this society. A people's court is erected and one shot shows him standing back in the crowd. Soon, the people hold the 1 percent to account. This is portrayed as an evil act. Those poor poor bankers. As much as they want to show this new society as inherently bad, narrative cracks begin to show. A new paradigm emerges that the writers attempt (and fail) to suppress.
The second thing Bane does is that he starts a nuclear device countdown, due to detonate in 5 months time. The film was released on 20 July 2012. Five months later would make it one day prior to 21 December 2012. An alleged date 'of concern' for the NWO.
At this point we're deep into Illuminati propaganda with a captivate audience. Much more takes place in The Dark Knight Rises, but hopefully I've given enough of a flavour to communicate my point. I didn't leave the film angry, or sad, or frustrated. I felt encouraged. At no other point in recent film have we seen a hand shown so clearly - to the point of revealing the owner's tactics and evident misunderstandings of their target.
So, sounds like just more ARAB SPRUNG-like control of the minds who think they can convince You and I to sacrifice the top elite of the Global War Machine and simply allow new tyrants to ascend Christ-like into global positions of salvation, like nothing ever changed.
Or a CLASSIC CORPORATE TAKE-OVER decapitation of the ruling echelon. Remember, that in this country, and across Europe, we have non-elected COALITION governments who 'decided among themselves' how our 'global control region' should be run. Is this the dream of Democracy, gone awry?
What really needs to happen is we need to protect this Free Planet from LEADERS, or those who would enslave an entire world (and its people, animals, resources) in the name of PROFIT.