Film: The Dark Knight Rises

In the Dark Knight Rises, director Christopher Nolan coveys certain charter development in the interrogation scene through his use of coverage and various production elements. Nolan’s wide establishing shot is taken from behind the seated Joker (Heath Ledger) and Commissioner Gordon (Gary Oldmen) is dwarfed in comparison as he enters the room.The low key lighting in this shot silhouettes the Joker which serves to heighten his ominous and sinister presence. Nolan then cuts to another wide of the Joker from Gordon’s perspective in which only his gory make-up can be seen from the shadows. Nolan continues to cut from either side of the table using over the shoulder shots whilst pushing in slowly (this ads significant drama to the scene). As Nolan continues to push in both characters are framed in close ups. Furthermore, Gordon is now shot from a low angle indicating his power over the Joker, as he leaves to allow Batman (Christian Bale) to take over the interrogation. A close-up of the Joker reveals Batman standing behind him as the lights flicker on. A combination of hard, over exposed lighting and camera movement demonstrates that Batman has lost control. As Batman throws the Joker onto the table, the previously subtle hand-held camera movement becomes jerky and fast. The camera tracks the Joker’s body as he is pulled over the table. As Batman slams the Joker into the wall, the camera is canted and moves towards the two. Nolan then cuts to the detectives’ perspectives from behind the mirrored wall of the interrogation room. He then captures the detectives muttering nervously from a side mid-shot. In the interrogation room Batman hurls the Joker onto the table. This is covered by three different shots- a mid-shot that shows the Joker in the air, a wide that shows him hitting the table and another mid-shot of him lying on the table. The camera frantically tracks Gordon as he rushes to stop Batman from barring the door. The editing here also contributes towards the impression that Batman has lost control, as Nolan cuts between the interrogation room and Gordon rushing to open the door. As the Joker exclaims “Look at you go!” the camera is on a heavily skewed angle and begins to rotate on this angle. Batman is shot from a very low angle as he glowers over the Joker yelling “where are they?.” When the Joker laughs callously and tells him the hostages’ locations, a non-diegetic hum increasing in pitch brings the scene to a crescendo.