The Batman movie I saw days before the shooting was different from the one I saw this past weekend.
The argument was already underway when my wife and I settled in at the Sunday night IMAX screening of The Dark Knight Rises, but it was pretty easy to piece together what had happened: A couple and a burly guy both arrived at the same open seats at the same time, from opposite directions, and were sparring over who would get them. The confrontation grew heated. The man told the couple that if his friend who was scouting elsewhere in the theater didn't find better seats, things would get "ugly." The young woman defiantly squeezed past him and planted herself in one of the chairs in question.
"Hey, Andrew!" the man immediately yelled up to his friend. "Did you bring your gun?"
The weight of what happened hangs over the film, not because 'The Dark Knight Rises' caused the killings, but because it takes place in a world where such things are expected.
The man was, of course, removed from the theater. Police were called to take him out—well, perhaps "summoned" would be a better word, because the cops were already on scene, as they have been for showings of The Dark Knight Rises in New York City since the shooting in Aurora, Colorado on opening night. At any other film, on most any previous evening, this guy's comment would have been an odd thing to say, a peculiar threat to float, but not something that would necessarily get him tossed from the auditorium. This was different, though. "Did you bring your gun?" is not something you say at this movie, little more than a week after what happened in Colorado.
It was my second time seeing The Dark Knight Rises and my first time with a paying audience. I had come back both so my wife could take it in and so that I could watch the film in IMAX, as director Christopher Nolan intended. But the bigger canvas was, of course, not all that was different on this second viewing. I had seen The Dark Knight Rises initially at a media screening, before Aurora. The filmmakers haven't changed a frame, but it's a very different movie now, and will be from here on out.
It was never just an escapist summer blockbuster, even before 12:38 a.m. on July 20. Much of the reason it is such a powerful film (a great one, I'd argue) is because Nolan grounds it so firmly in our real world instead of an imagined one, provocatively invoking 9/11 fears and imagery, Occupy and Tea Party rhetoric, and shades of the Patriot Act to make the Caped Crusader's world of a piece with our own. When I first heard the details of the shooting as they trickled out over Twitter and incomplete television reports that Friday morning, something hardened in the pit of my stomach. "They're gonna blame the movie for this," I told my wife, even as the shock and horror of what had happened was still sinking in. "There's stuff like this in it, mass destruction, calls for anarchy. It's the bad guy doing it, but still..."