Shyamalan Week: Things Worth Discussing

What I had wanted to do with this series of posts initially was dust off some old posts that had not yet seen their moment on this blog. That’s easy enough to do when your topic is immutable and not really on a current event. A fictitious conversation among myself, Hitchcock and Truffaut that I created after having read their series of interviews or my interpretation on the role Catholicism plays in Fellini’s 8 1/2 aren’t going to become less relevant in a few years time. A post I wrote, however, calling out a question M. Night Shyamalan was asked when doing press in Mexico for The Last Airbender kind of does.

If you want you can look for it, but my point in a nutshell is the phrasing of the question was leading, trying to get headlines and it received a much better response than it deserved. I wrote it mostly because the reporter seemed to be getting a pass and nothing said on that end was questioned. While perspective may have strengthened or weakened some of my points, it’s all past now.

The one line of the piece that really stuck out, in part because I had just read something similar, was a thought I didn’t think had occurred to me:

The bottom line is: We love movies. We write about them, we watch them and make them. If there weren’t M. Nights around making things at least worth discussing what would the there be? Nothing. So regardless of your opinion of his films as a whole, especially the more recent ones, let us not trash the man in all he does…

After Earth (2013, Sony)

I then finish speaking very specifically about the reporter incident so this is the only part of the conversation pertinent today. However, it is a significant one. The point I allude to is beyond a good/bad subjective interpretation. The fact of the matter is very rarely these days will you go to the multiplex and be shown something that causes any kind of discussion, much less debate. I kind of skirted around this when discussing post-movie conversations. However, what I didn’t address is that few of the movies we see even give you reason to talk at any length about them.

I also don’t think this is entirely the fault of the news cycle in film, which usually has little tolerance for the movie out this weekend but glorifies the teaser of the full trailer that’s going to drop next Tuesday. More often than not Shyamalan, whether you be a devotee, someone longing for him to do something amazing again or a skeptic; has left you with something to talk about. Even if he did break from his twisting ways there’s still a bit of “Wait, what?” to most of his films. Which is saying something because far too often we not only know too much going into a film but we also don’t get the unexpected nearly enough.

You can get milquetoast anywhere. You can get it in at least one major release 52 weeks a year. Whether it hits or misses, I’d much prefer a brash attempt to do something. Many people didn’t bother to see Cloud Atlas. It wasn’t in my Top 25 but one thing I could not get over was how much I loved the audacity of that movie. It was a hard sell but it seemed to be exactly what people always seem to say they want: something different. However, then different comes knocking and where are they all?

With so much cinema being use-once-and-destroy anyone who can consistently refuse to be ignored is worth taking note of. I haven’t seen much in the After Earth trailers and teasers that make it look as if it’s unlike anything I’ve seen. However, the fact that there were no advance screenings until the night before the soft open Thursday night shows, and as of this evening Rotten Tomatoes had no registered opinions on either side give me some hope that there’s something they’re sitting on that’s pretty good fodder at the very least, that stands out, even if it doesn’t quite hit as well as it wants to.

Shyamalan Week: The Spiritual Trilogy

Introduction

With After Earth being released this week it struck me that the timing was good to revisit not only some of M. Night Shyamalan‘s films but also some old pieces I wrote about him or his works that have not yet made their way over to this site.

This particular piece is brand new, however, and the thought occurred to me after having revisited Wide Awake/em>.

Wide Awake and The Spiritual Trilogy

Wide Awake (1998, Miramax)

Wide Awake was released in in 1998, and was a film I was looking forward to seeing at the time. This was based on both the trailer and the fact that I was a fan of Rosie O’Donnell’s at the time (Granted her involvement was slightly oversold, but that’s marketing). Indie films, even ones distributed by Miramax, were not as easy for me to get a hold of so it had to wait until its home video release, but I recall being very taken with the film then. I had not revisited it many times since but still had fond memories of it.

Wide Awake garnered 7 BAM Award nominations, which are my personal year-end picks. Mind you that M. Night Shyamalan would not be a director I knew anything about, or someone most people knew, until The Sixth Sense took off; it was just a reaction to what I saw, no hype, nothing.

Wide Awake is about a grade school boy (Joseph Cross) not only coping with the loss of his grandfather but dealing with very big questions because of it. He is concerned for the fate of this grandfather’s immortal soul, questions his own religion, the existence of God and more things that are not usually the purview of one so young.

The Sixth Sense (1999, Touchstone Pictures)

With The Sixth Sense Shyamalan takes a turn towards the supernatural but many of the same answers are being searched for by the young protagonist. Cole Sear, played by Haley Joel Osment, the protagonist of The Sixth Sense has this unique ability to see the dead, he doesn’t know what they want, why they come to him, why they won’t leave him be and what it all means. All he knows for sure is that he’s terrified and trying to understand what the meaning of death is and by inference the meaning of life.

Moving Forward

Praying with Anger (1992, Cinevista)

For many who seek to trace the career of Shyamalan they erroneously trace it back just to The Sixth Sense. However, even my analysis will only go so far. I can assert through an educated guess that The Sixth Sense closes out a thematic trilogy, a period of work Shyamalan had not unlike a painter. His first feature Praying with Anger was filmed in India while he was still an undergraduate.

According to the synopsis it tells the tale of an “Alienated, Americanized teenager of East Indian heritage sent back to India where he discovers not only his roots but a lot about himself.” Praying with Anger has never been readily available on video in the US, or at least it hasn’t been for some time, though it does seem it had one week in one theater in 1992. Myself and many others have been unable to see it, and that is probably by design, it seems rather clear that there was a spiritual, soul-searching phase that kicked off Shyamalan’s career.

The next phase wherein he discussed wanting to make what amounted to feature-length Twilight Zone episodes, would spin-off from The Sixth Sense, but the that film stands a bit apart from the others. Interestingly, while it caps the first theme it also acts as a transitional film to the titles that come. If one is to look at the next three films (Unbreakable, Signs and The Village) there are certainly more commonalities in those three films when removing The Sixth Sense from that grouping.

The Sixth Sense (1999, Touchstone Pictures)

This phase notion is one I never really considered, but what I do know is that it can get you pegged. It turns out that the similarities that The Sixth Sense did bear with the next three set some people up. However, I recently mentioned that one of the pitfalls of auteur criticism is just that. You expect things too readily and I never even thought of grouping his first three films. Steven Spielberg tried to dodge pidgeonholes people tried to keep him in for as long as he could. He attempted to avoid films too similar to one another back-to-back until later on in his career with two straight dramas (The Color Purple and Empire of the Sun) or his dark futures (A.I. and Minority Report). Yet, even he had associations dog him. Aliens, for example.

I’m not comparing the two filmmakers, but rather finding one point of comparison: both broke through with a massive hit at a young age that put them under the microscope. Both Shyamalan and Spielberg have had their missteps and their big early hits, and both have had to contend with people attempting to define them. One of the things that Spielberg benefitted from is that he was at the vanguard of director-as-star. With Shyamalan it was an accepted notion that he was lumped into due to his being the creative force behind a worldwide box office smash.

Conclusion

Wide Awake (1998, Miramax)

Essentially, what I am seeking in this series of writings is to merely examine the works more closely. I am not writing a persuasive essay. His films don’t work for some and that’s fine, but I am also not coming from an over-rationalizing fanboy’s perspective either. I later on connected Wide Awake and The Sixth Sense. All I knew about The Sixth Sense as it was looming was that it looked good and I wanted to see it. After I had I recognized that name in the credits, and checked the IMDb. So in some ways I was a lot like other people discovering who he was and what his voice at the time was. I just already had a track record with his work is all.

Essentially, if you’re going to look at the trajectory of his career his first three films, the actual first three films and I believe have to be looked at as one unit. Call it a cinematic coming-of-age if you will. In the next three he’s exploring a particular milieu and genre. From that point on he’s been branching out and we will get to those in due course.