Christopher Nolan Almost Always Ends His Films in This Way
The Big Picture Think about Sylvester Stallone training as Rocky while the empowering theme song building him up. The montage is an editing technique you have seen before, in many different ways, like Rocky reaching those museum steps. It might be emotional, the passage of time can be rapid, and there might be new reveals. You have probably seen this technique in the movies by director Christopher Nolan, which dive into the spectacle of the story and emotional cores of the characters.
Cooper is finally reunited with Murph , now decades older than himself. She weeps, but takes comfort in seeing him, knowing it would happen. And why? “Because my dad promised me.” She doesn’t want him to see her imminent death, so she sends him to go find Brand. The ending closes in on both Cooper and Brand, separated by galaxies, but he’s been faced with greater obstacles. The montage has Cooper get into a spacecraft, while Brand sets up camp on a planet that will be suitable for life.
Alfred explains how he would take a trip to Florence, and visit a café where, “I had this fantasy that I would look across the tables and I’d see you there, with a wife, maybe a couple of kids. You wouldn’t say anything to me, nor me to you. But we’d both know that you made it. That you were happy.” That doesn’t seem to be the ending for Rises when Gotham is trapped under a nuclear bomb’s countdown.
During the final scenes, Peter gets George’s picture and obituary into the paper, where he is hailed as the hero the young man wished to be. This cross-cuts with other scenes with active soldiers. Alex makes Tommy read the paper, unable to meet the eyes of people outside their arriving train. They aren’t viewed as cowards like Alex fears, they are victors, having survived is enough.
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