On 7 July 2012 filmmaker Christopher Nolan was awarded the rare honour of having his hands and footprints cemented into the forecourt of the famed Grauman's Chinese Theatre in Burbank, California. The amazing auteur behind The Dark Knight Trilogy has been honoured on the precipice of the release of The Dark Knight Rises. Warner Brothers President, Jeff Robinov put it best stating that “everyone at Warner Bros. joins me in congratulating Christopher Nolan, who has been such an integral part of our family for the past 12 years.  We are extremely proud of the cinematic legacy he has given us through his films.  At only 41, Christopher takes his place alongside other industry giants featured at Grauman’s, and generations of fans will remember the extraordinary impression he left on their imaginations.” Although this extraordinary honour has been bestowed on the great man I have to ask: Why no statue? Seriously, the film community is all about theatricality - and yet there aren't any shining monuments to celebrate the universally lauded champions of the industry. Hollywood honours their great cinematic icons with tiny golden statuesque 'Ken Dolls' already.  The Nolan's are rare birds; like the Spielberg's, Scorsese's, Coppolla's, Hitchcock's, Ford's and Kurosawa's. When am I going to be able to go on a morning run up a series of steps 'Rocky Style' to a monument to cinematic titan?

The precarious knife's edge of critical reception and audience adoration is rare in any form of art and those who manage to attain it for more than a decade of their career deserve to be recognized. Nolan brings unpredictability to mainstream narrative that's happier with open ended conclusions that ask questions of the audience in the style of American Independent cinema of the 70s.

Thematically Nolan’s work examines masculinity from an unreliable protagonist’s perspective. Outside of Memento the cache of masculine characters are unreliable because they lie to themselves (Inception), their peers because of some secretive agenda (Insomnia, The Prestige), or literally manifest their personality into alter-egos (Batman Begins, The Dark Knight, The Dark Knight Rises).

Charting these phenomena from Memento to Inception one need only compare Leonard’s investigative journey back to the facts of the scenario and how he adjusts the fact of the scenario once he peels away he façade. Cobb is fashioning a believable face for his ‘target’ in reverse – instead of tangible markings on one’s skin or a mess of notes – the tattooing occurs in the depths of your subconscious. And the irrevocable evidence of the kinship between Leonard and Cobb is the conclusion of Inception and the ideal scenario that falls in his lap. Both protagonists have fashioned the more acceptable conclusion scenario for themselves. Or have they?

Exhibit A:

Look at the level of critical acclaim, balanced with monetary success that his body of has consistently hit puts him in a unique position.

This simple equation should convince any doubters:

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The Dark Knight Rises opens worldwide on 19th July 2012.

Blake Howard is a writer, a podcaster, the editor-in-chief & co-founder of Australian film blog Graffiti With Punctuation. Beginning his criticism APPRENTICESHIP as co-host of That Movie Show 2UE, Blake is now a member of the prestigious Online Film Critic Society, sways the Tomato Meter with Rotten Tomatoes approved reviews. See his articulated words and shrieks (mostly) here at Graffitiwithpunctuation.com and with DarkHorizons.com & 2SER Sydney weekly on Gaggle of Geeks.