But after all this it looked like Nolan had seemingly decided not to “fool us twice” with the same trick pulled again (despite the hint at it) when it came to TDKR, with Michael Caine’s glance being acknowledged by an on-screen counter shot (an unnecessary inclusion, in my view). But this is where the plot thickens, dear Watson! Nolan insists that this was necessary to continue (and indeed sell) the idea of Batman as symbol rather than being tied to Wayne (just like in V for Vendetta), and whilst this may very well be true it also allows for the ending to be seen in a totally different light.
Though the shots of JGL hint at the Dark Knight’s rising (or re-rising) indeed, the actual post-mortem of the film via reflection or re-watch hints at the distinct possibility that, just like Inception might all be a dream, TDKR might just all be in Albert’s head. Well, not all of it, obviously… but those last five minutes or so are anyone’s guess. Despite the dispute from some that a literal reading makes it impossible for this to be so, this isn’t actually true. It’s a little silly to apply literal rules to these final few minutes anyway (particularly in a Nolan film), but even these events – the bat symbol on Gordon’s car, the auto-pilot repair, and of course Albert’s gaze – can all be explained away fairly easily anyway, mainly through the idea of Robin as Batman’s successor, hence the continuation and rebirth of the Dark Knight.
It might just be that Albert choose to see what he sees because he needs closure and after around 8 hours of three films in Nolan’s Gotham, perhaps teh audience do too. Whether or not you choose to see The Dark Knight Rises in this way is entirely up to you, but the point still remains that it very much can be. And, of course, it can also be seen in a number of other ways, such is the talent of Christopher Nolan and the charm of the ending. Life of Pi doesn’t have the same bilateralism about it, and perhaps this is what stops it (and Safety Not Guaranteed too, I fear) from taking the step into being a greater film (or at least having a more worthwhile ending).
What’s great about Nolan, Take Shelter and the films that truly make you think – after watch and re-watch and re-re-watch – is that you’re never quite sure, and there’s always the possibility that one day you’ll change your mind about it all. If Inception is all in Leo’s head, and TDKR is all in Caine’s, then be thankful that the power of cinema leaves every film entirely, ultimately, in yours.