“I see dead people.” When an eleven-year-old Haley Joel Osment whispered those four little words nearly ten years ago, spines were chilled and the world was introduced to a director it would soon love to hate — M. Night Shyamalan.
With “The Sixth Sense,” Shyamalan reinvigorated horror, creating a blockbuster out of mood and character study rarely seen in the genre.
Six films later, Shyamalan has become one of the most polarizing filmmakers in American cinema. He’s had a mixed bag in terms of critical success with his most recent pictures “The Village” and “Lady in the Water” falling short in comparison to “Unbreakable” and “Signs.”Â His distaste for critics, some apparent arrogance issues and a tendency to put himself in his own pictures (like Hitchcock only with prominent speaking roles) has not helped his popularity and each new project seems to be seen as either the next “The Sixth Sense” or the end of his career (especially where internet messages boards are concerned).
With all that baggage, then, we arrive at Shyamalan’s latest venture into suspense since first finding lightning in a bottle: his first-ever-R-rated film “The Happening.”Â Our Smackdown pits M. Night against himself yet again as his haunting heavyweight “The Sixth Sense” goes toe-to-toe with the big-and-bad R-rated bruiser “The Happening.”Â Think the new guy can finally put the bully down?Â DING!
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“The Happening” is a thriller about a family’s escape from a mysterious,
suicide-inducing event that is plaguing the Northeast. Have I mentioned that “The Happening” is rated-R?Â Because if I haven’t, I should let you know — “THE HAPPENING” IS RATED R!!!Â Never before have I seen the hype of a film based largely on the restrictions of its rating, but even before release this thriller largely built its reputation upon the idea of a new, harder-edged Shyamalan, able now to venture into places far darker than ever before.Â And he doesn’t hesitate to do so. The cutaways and off-screen horror that one might expect from a Shyamalan film get discarded for some in-your-face gore that could put asses in theater seats and then send them packing as quickly as they got there.
The story follows Mark Wahlberg as a high school science teacher trying to protect his family from a sudden airborne attack that transforms normal people into suicidal lemmings, forcing them to leap off buildings, hang themselves from trees, lay down in front of lawnmowers, etc. While it doesn’t pack the classic Shyamalan twist ending, there is enough ambiguity surrounding the event to keep audiences guessing going in. How long that interest lasts, however, could be another thing entirely. Did I mention it’s rated R?
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The Defending Champion
“The SixthÂ Sense” was a landmark cinematic achievement. Even for someone who sawÂ that surprise- nding coming (I did! I swear I did! BELIEVE ME!!!) theÂ film proved something to marvel at — a horror film that focused moreÂ on character study and mood than cheap thrills and scare tactics. IÂ don’t normally dig on horror, but the film’s patience and heart wasÂ something even I couldn’t ignore. The film was nominated for five Academy Awards, two ofÂ which were Best Director and Best Screenplay (which Shyamalan wroteÂ himself).
Bruce Willis stars as Dr. Malcolm Crowe, a damagedÂ child psychologist who has lost all belief in himself and his abilityÂ to make a difference in people’s lives. He’s hopeless and at bottom,Â with a once-loving wife now estranged and the doors of his houseÂ seriously aching for some WD40 (you can work for that one).
It is at this point in his story that he meets Cole,Â a disturbed little boy that he fears could go a very terrible wayÂ without help and recognizes in the child his own chance for redemption.Â After their introduction, Malcolm mistakenly diagnoses Cole as paranoidÂ and possibly schizophrenic, though he ultimately finds that the boy’sÂ secret is far more horrific and real than he could have ever imagined:Â He. Sees. Dead. People.
“The Sixth Sense” is one of those films that comesÂ around once in a great while, something that almost immediatelyÂ ingrains itself into popular culture and then has the depth to remainÂ prevalent for years to come. It is a landmark film and for ShyamalanÂ probably a haunting one, with a shadow so large and looming that he hasÂ yet been able to shed its weight in subsequent works. So let’s see ifÂ “The Happening” can finally be the one to set the man free.
The R-rating given “TheÂ Happening” is there with good reason as Shyamalan plays up the gore,Â but these moments of horror are almost laughable due to some slightÂ overacting from his cast. It felt like â€œFinal Destination,â€ an hour-and-a-half of constantly waiting for the next weird death to come,Â guessing how the character would off themselves and all the timeÂ realizing that even this guessing game wasnâ€™t enough to make the filmÂ bearable. And the blame for that falls on no one but Shyamalan, whoÂ leaves his actors appearing less confused about what is happeningÂ around them (as would make sense given a real life situation) and moreÂ confused about what theyâ€™re doing in front of the camera in the firstÂ place. And this remains a constant.
There was a moment during â€œThe Happeningâ€ when IÂ thought to myself, â€œMaybe this is actually supposed to be funny. Maybe M. Night used the hype of the R-rating to dupe us into walking unawareÂ into a surprise comedy.â€ After all, the cast is strangely eclectic andÂ Zooey Deschanel is a veteran of comedy (“Elf,” “Hitch Hikerâ€™s Guide toÂ the Galaxy”). Shyamalan is known for adding moments of humor to someÂ really tense situations and the script for â€œThe Happening” is loadedÂ with that kind of comedy, some of which works and some that will makeÂ audiences squirm. I just find it hard to believe that the directorÂ simply overlooked the glaring weaknesses in the acting and it appearsÂ plausible that he could have intentionally pushed his cast in theÂ direction they went for this purpose. Iâ€™m not defending it and IÂ certainly hope that this isnâ€™t actually the case, because even throughÂ a comedic lens the film doesnâ€™t work. And itâ€™d just be pretentious.
“The Sixth Sense,â€ on the other hand, simply allows aÂ wonderful cast to do what they do best, sprinkling in moments of horrorÂ around them. Nearly every performance is something to marvel at, makingÂ the project extremely well-rounded and intimate. Shyamalan allows hisÂ actors to simply be, letting their performances draw the audience in,Â without forcing compassion down our throats (which often happens inÂ horror.) Shyamalan understood the strength of the actors at hisÂ disposal and he used his direction only to complement theirÂ performances, not to overshadow them as is the case in â€œThe Happening.â€Â After all, â€œThe Sixth Senseâ€ did garner two Oscar nods for â€œBestÂ Supporting,â€ and one of those went to the eleven-year-old.
Shyamalanâ€™s patience is one of his biggest assets andÂ the main reason â€œThe Sixth Senseâ€ works as well as it does. HeÂ remembers to wait, to allow the tension to build around his charactersÂ until the moment itâ€™s about to burst, and then makes us wait some more.Â We spend time with the characters and get to really know and care forÂ them, which only makes the scares that much more intense when theyÂ come. Couple that patience with a monstrous score and we become puttyÂ in Shyamalanâ€™s hands, jumping when he says jump, weeping when he wantsÂ us to. The film is a wonderful example of character study and ShyamalanÂ couldâ€™ve learned a valuable lesson from himself in this respect. IÂ appreciate the fact that we are thrown into â€œThe Happeningâ€ in the sameÂ position as the characters, with no knowledge of whatâ€™s causing any ofÂ these terrible occurrences, but we spend so little time with peopleÂ that seem so awkwardly skewed that we never actually care what happensÂ to them.
The one concern I had about â€œThe Sixth Senseâ€ cameÂ with its ending. We all know about the surprise twist (read line 1) andÂ the film builds really wonderfully toward that revelation. But does itÂ take away from its replay potential? Does knowing the truth in advanceÂ diminish our experience? I worried greatly that it might.
Fortunately, I was wrong. The film remains great withÂ or without its infamous surprise ending. The twist is simply a bonus toÂ what is really a focus on character, a study of peopleâ€™s dealings withÂ death and denial. Shyamalan observes his characters with respect andÂ intimacy and the ending only allows people to look back and realizeÂ that even they couldnâ€™t see what was in front of their faces, aÂ revelation that connects us even further to Malcolm and his plight.Â Knowing the truth ahead of time makes us care more for him, seeing theÂ depths of his denial and the sadness that comes with it. And honestly,Â I became so wrapped up in the characters that I nearly forgot theÂ surprise.
â€œThe Happeningâ€ leaves us with little more than aÂ morality lesson and a scolding about planet care. Iâ€™m all for using artÂ to wake up the masses and spark change, but all I really felt at theÂ end of the film was Shyamalan wagging a finger at me. I think he reallyÂ needs a friend, someone close by that he can bounce these ideas off ofÂ when they come to him. Because, despite however big and bombastic asÂ heâ€™d like to go, scenes that depict the wind chasing down and murderingÂ people is simply not going to translate the way you want them to.
I appreciate what he was trying to do and the film isÂ not without its merits. Time and again we see flares of Shyamalanâ€™sÂ talent, most of which comes through in shot design. However, even theseÂ moments of greatness draw attention to themselves and pull us out ofÂ the narrative, unable to work in tune with the overacting of the castÂ and the awkwardness of the story. What might have been aÂ comedy-by-mistake with any other less-talented director fails due toÂ the fact that Shyamalanâ€™s skill is apparent, that he shouldâ€™ve beenÂ able to see what he was doing and adjust. And if he did, if he in factÂ consciously made these decisions, then I have no idea what he wasÂ thinking, other than that he might like to waste a lot of money and putÂ the another nail in his own career.
You know those boxing matches that you pay fifty bucksÂ for on pay-per-view?Â The ones where the stoic champion knocks out theÂ trash-talking new guy in the first seconds of the first round?Â AndÂ everyone in the living room is saying to themselves, “OK, he’s gonnaÂ get up. It was one hit. He…that’s it?! It’s over?!” And you’re leftÂ wondering what you’re gonna do with all those nachos.
So another contender falls bloody and bruised at theÂ unforgiving hands of â€œThe Sixth Sense.â€ The grand scope and graphicÂ violence of â€œThe Happeningâ€ hold virtually no weight when contrastedÂ with the intimacy and patience that the first film employs.Â This latest film simply doesn’t work.
“The Sixth Sense.”Â KO, Round 1.Â Pass the nachos…
Rodney… that is the most sensible career suggestion I’ve ever heard and might, just might, get M. Night a new critical lease on life. Naturally, he’ll never do it because it’s such a good idea. But if I was his agent, that’s exactly what I’d be thinking of doing…
I agree. While I thought The Happening was a well made film, it contained such a stupid plot contrivance that it negated all the gore and bloody spurting that was contained inside it. Half way through the film, you’re sitting there thinking “waitaminnit… THATS it? Thats the big twist?” and you sorta feel like clawing out your eyes.
My solution for M Night? He needs to direct somebody else’s script, and to have a producer capable of reigning in his apparent arrogance. I’d like to see him direct a straight film, a plain old dramatic piece, with no hidden twists or inordinate plot contrivances. Might get him on the straight and narrow.