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Critical Approaches to the Films of M. Night Shyamalan

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Critical Approaches to the Films of M. Night Shyamalan Critical Approaches to the Films of M. Night Shyamalan Previous Publications by Jeffrey Andrew Weinstock Approaches to Teaching Poe’s Prose and Poetry (with Anthony Magistrale) Nothing That Is: Millennial Cinema and the Blair Witch Controversies (with Sarah Higley) The Pedagogical Wallpaper: Teaching Charlotte Perkins Gilman’s “The Yellow Wall-paper” Reading Rocky Horror: The Rocky Horror Picture Show and Popular Culture The Rocky Horror Picture Show Scare Tactics: Supernatural Fiction by American Women Spectral America: Phantoms and the National Imagination Taking South Park Seriously Vampires: Undead Cinema Critical Approaches to the Films of M. Night Shyamalan Spoiler Warnings Edited by Jeffrey Andrew Weinstock critical approaches to the films of m. night shyamalan Copyright © Jeffrey Andrew Weinstock, 2010. Softcover reprint of the hardcover 1st edition 2010 978-0-230-10408-2 All rights reserved. First published in 2010 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010 Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-28857-1 ISBN 978-0-230-11209-4 (eBook) DOI 10.1057/9780230112094 Library of Congress Cataloging-in-Publication Data Critical approaches to the films of M. Night Shyamalan : spoiler warnings / edited by Jeffrey Andrew Weinstock. p. cm. Includes bibliographical references and index. 1. Shyamalan, M. Night—Criticism and interpretation. I. Weinstock, Jeffrey Andrew. II. Title. PN1998.3.S485C75 2010 791.4302'33092—dc22 2010003111 Design by Scribe, Inc. (www.scribenet.com) First edition: August 2010 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction: Telling Stories about Telling Stories: The Films of M. Night Shyamalan ix Jeffrey Andrew Weinstock Feature One: Narrating Shyamalan, Narrating Culture 1 The Home-Front Hero in the Films of M. Night Shyamalan 3 Elizabeth Abele 2 Reaching Out to the Other Side: Problematic Families in the Films of M. Night Shyamalan 19 Elizabeth Rosen 3 Melodrama and Male Crisis in Signs and Unbreakable 35 R. Barton Palmer 4 Spellbound in Darkness: Shyamalan’s Epistemological Twitch 53 David Sterritt 5 Four Films by M. Night Shyamalan: Oh, the Irony . 71 Katherine A. Fowkes 6 The Night Book, or The Mirror and the Page 89 Emmanuel Burdeau Intermission: Shyamalan’s Story 7 Making Sense of M. Night Shyamalan: Signs of a Popular Auteur in the “Field of Horror” 103 Matt Hills 8 Reshaping the Director as Star: Investigating M. Night Shyamalan’s Image 119 Kim Owczarski vi contents Feature Two: Stories by Shyamalan 9 Sigmund Freud, Pedophile Priests, and Shyamalan’s Filmic Fairy Tale (The Sixth Sense) 139 Jane F. Thrailkill 10 Unbreak My Heart: The Melodramatic Superhero in Unbreakable 159 Matt Yockey 11 Simulations of Evil in M. Night Shyamalan’s The Village 175 Miriam Jordan and Julian Jason Haladyn 12 “Something ancient in modern times”: Myth and Meaning-Making in M. Night Shyamalan’s Lady in the Water 189 Nicholas Parker and Nirmal Trivedi 13 What Ever Is Happening to M. Night Shyamalan: Meditation on an “Infection” Film 203 Murray Pomerance About the Contributors 219 Index 223 Acknowledgments This collection took a variety of twists and turns as it developed from an idea hatched by Jason Steed in 2005 to the collection you see before you. First and foremost, I thank the contributors, especially those who have been along for the entire ride, for their patience, support, enthusiasm, and talent. Murray Pomerance was especially helpful in shaping the col- lection, and his advice and efforts are very much appreciated. I also thank the professional and user-friendly team at Palgrave, including Brigitte Shull and Lee Norton, for their help and encouragement. On the home front, the College of Humanities and Social and Behavioral Sciences at Central Michigan University assisted with the completion of this volume by providing me with an Alternative Assignment and the English depart- ment, including my wonderful colleagues Marcy Taylor, Ari Berk, and Kristin McDermott, were a constant source of inspiration and encourage- ment. Most significantly, here as in everything else, the love and support I receive from my wife, Astrid, and my parents, Alan and Madeline Wein- stock, sustain and uplift me. I thank you all. I NTRODUCTION Telling Stories about Telling Stories The Films of M. Night Shyamalan Jeffrey Andrew Weinstock Spoiler Warnings It must be acknowledged at the outset that M. Night Shyamalan so far has mostly been a kind of one-trick pony. It also must be admitted, however, that it’s a pretty neat trick. With the exception of Shyamalan’s first Hollywood film, Wide Awake (1998), and his most recent offering, The Happening (2008), in each of Shyamalan’s major releases events that ini- tially seem to be haphazard, unrelated, and even perhaps unexceptional are recast as significant, interrelated, and all part of a larger sequence of events.1 There comes that seemingly inevitable moment in each of his films—call it the Shyamalanian “click”—when everything falls into place and the viewer realizes (or is made to realize through a series of flashbacks) that every- thing that had appeared coincidental or nonsensical wasn’t accidental or meaningless at all but rather directed by some controlling force. The most famous of these ironic realizations—and arguably the most effective—is of course the terrific moment in The Sixth Sense (1999) when both child psychologist Malcolm Crowe (Bruce Willis) and the viewer realize simul- taneously that Malcolm is dead, having been shot at the very start of the film. For many, the “ah ha!” moment here was stunningly visceral as the film’s entire narrative suddenly was recast in a different light and earlier curious details now made sense.2 “Of course the little boy, Cole (Haley Joel Osment), runs from Malcolm at the start—Malcolm is a ghost. No wonder Malcolm and his wife Anna (Olivia Williams) don’t speak at their anni- versary dinner (and she picks up the check!)—he’s dead!!!” Similarly, at the x Jeffrey Andrew Weinstock end of Unbreakable (2000), when David Dunn (Bruce Willis) shakes hands with Elijah Price (Samuel L. Jackson), flashes of telepathic insight reveal to him and the viewer that Elijah has been manipulating events all along, causing a series of spectacular disasters intended to identify and locate his “unbreakable” superhero counterpart. In Shyamalan’s most explicitly reli- gious film (with the exception of Wide Awake), Signs (2002), the pieces fall into place when the viewer discovers along with the protagonist, Graham Hess (Mel Gibson), that the dying words of Graham’s wife weren’t random last misfires of expiring neurons but instead prescient instructions on how to deal with the menace of future nasty aliens. While in Shyamalan’s most cynical film, The Village (2004), Ivy Walker (Bryce Dallas Howard) and the viewer learn that the much-feared monsters (“Those We Do Not Speak Of”) haunting the woods are all a hoax perpetrated by the village elders and, in a secondary revelation for the viewer alone, that the film is not set in the seventeenth or eighteenth century as the viewer has been led to believe, but rather in our contemporary moment. And then in Lady in the Water (2006), a seemingly random amalgamation of apartment complex residents all turn out to have special skills and specific roles to play in awakening the latent talents of Vick Ran (Shyamalan himself) and ensuring the safe return of the mermaid-esque “Narf” named Story (Bryce Dallas Howard) to the “Blue World.” In each of these films, Shyamalan’s bait-and-switch slight of hand— the undercutting of the viewer’s expectations by each film’s culminatory ironic reversal—creates a curious situation not just for viewers, but also for commentators who, in order to preserve the more-or-less pleasurable shock of discovery for those who have yet to see the film in question, either must speak obliquely about the film’s conclusion or are obliged to preface discussion with an admonitory “spoilers warning” placard. The subtitle of this collection (and of this section of the introduction) bears in mind the fact that one cannot talk about Shyamalan’s films without taking into account their endings—and this often means doing some- thing all too uncommon in our contemporary moment: considering the expectations and experiences of other people. There is a kind of tender- ness associated with the “spoiler warning” designation, one that speaks to the communal power of narrative and expresses the wish to share one’s experience of surprise and delight with others. However, because one can’t speak about Shyamalan’s films without discussing their endings and one can’t talk about the endings without discussing the de rigueur plot twists, viewers now ironically have been conditioned to anticipate precisely such an ironic reversal in any Shya- malan film, which to a certain extent delimits the effectiveness of the Telling Stories about Telling Stories xi plot twist—if one oxymoronically is prepared to be surprised, then the surprise arguably is a lesser-order epistemological one (what
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