Shyamalan Does It Again

Rating: 10/10 (4 August 2002)

In his most pensive and thought-provoking film yet, writer/director M. Night Shyamalan examines personal faith and explores the possibilities of predestination, in `Signs,' a riveting drama/thriller that also makes a case for the existence of extraterrestrial life in the universe; a film that questions the validity of coincidence, and puts forth the proposition that there is more going on in the vast expanses that surround our world than meets the eye. It's Shyamalan's way of saying `We are not alone,' and he does it by whispering it in your ear rather than shouting to get your attention. And get your attention he does, without question-- in a way that is spellbinding and unforgettable.
Graham Hess (Mel Gibson), of Bucks County, Pennsylvania, awakens one morning and discovers a design, beginning with a huge circle, that has been inexplicably imprinted in the cornfield that surrounds his farm. And he soon finds out that this is not an isolated incident; indeed, overnight the same thing has happened in fields around the world. The burning question, of course, is who did it? And moreover, how-- and why? It's a mystery to which there seems to be no logical answer. Or is it that it's too obvious, in which case it is also unbelievable. These are questions that, over the course of the next few days, will fill every waking moment of Graham's life, as well as that of his two children, Morgan and Bo (Rory Culkin, Abigail Breslin), and his brother, Merrill (Joaquin Phoenix); questions about things beyond contemplation. Questions to which the answers can come none to soon.
After his remarkable film, `The Sixth Sense,' in 1999, the question everyone was asking was how is Shyamalan going to top that? He responded with `Unbreakable' in 2000, another remarkable film that presented a concept of evil unique in the history of the cinema. And with this film, Shyamalan has done it again, with another unique film that is a study in subtlety and nuance. There is a quiet intensity to this film that evokes the kind of silence in a crowed theater that is rarely encountered. From the opening moments, Shyamalan casts a spell over his audience, then maintains it as he continues to build the suspense, right up to the very end. He draws you in by getting up close and personal with his camera, which successfully puts you `in the room' as the drama unfolds. It's a studied presentation, and Shyamalan sets a decidedly deliberate pace that makes it work most effectively.
Shyamalan traverses territory that will be familiar to Ingmar Bergman aficionados, as he delves into one of Bergman's favorite themes, that being `God's silence,' which we find in Graham's ruminations of his own personal situation. Add to that the best elements found in such films as `Independence Day' and `War of the Worlds,' with a dash of Rod Serling's `Twilight Zone,' and you have `Signs,' a true original, unique in it's own right and artistically and imaginatively rendered by Shyamalan, a one-of-a-kind writer/director who continues to amaze with film after film. Few directors can transfix an audience with such things as the sound of a cornfield rustling in the wind like Shyamalan can. And he allows his scenes time to not only develop, but imply; and it's these moments of silence, in which he focuses on a doorway, or an empty swing in the yard viewed through an open window, or an intimate close-up of the expression on a character's face, that are so telling and entirely captivating.
As Graham Hess, Mel Gibson certainly hits his stride with his portrayal of a man who has come to a crossroads in his life only to encounter yet another challenge that exacerbates his inner conflict even more. Gibson has a commanding presence on screen that naturally draws the eye, and his performance here has a reserve that adds strength and depth to his character, who is dealing with some very complex issues that transcend his immediate considerations. To make this character (and the film) work, Gibson must convey a very real sense of personal loss and a need for redemption-- and he succeeds. Shyamalan obviously has a knack for tapping into and bringing out the best in his stars; he did it with Bruce Willis in `The Sixth Sense' and `Unbreakable,' and he does it with Gibson here. It's an honest portrayal that is very real, and altogether convincing.
Joaquin Phoenix, too, gives a grounded performance as Merrill, a young man who has seemingly come to terms with certain aspects of his past, as well as the circumstances that have brought him to where he is at present. The success of his portrayal comes from the fact that Phoenix manages to find the core of his character and play upon it. It's a matter of having the kind of focus that makes the character believable, which is what Phoenix achieves here. He also has the kind of chemistry with Gibson that makes their relationship as brothers credible, which, in turn, is essential to the overall credibility of the film.
Shyamalan has also worked his magic with his young stars, Culkin and Breslin, each of whom give affecting performances. Culkin displays a maturity beyond his years that works well for his character, especially in light of Morgan's current fragile state of being. And Breslin is absolutely endearing as Mo, a performance reminiscent of young Heather O'Rourke's Carol Anne, in `Poltergeist.'
The supporting cast includes Cherry Jones (Officer Paski), Patricia Kalember (Colleen Hess), Jose L. Rodriguez (Radio Host) and M. Night Shyamalan (Ray). A film that is intrinsically enthralling, at times frightening and genuinely eerie, `Signs' marks the accomplishment of a cinematic hat trick for M. Night Shyamalan, who is quickly becoming the new Hitchcock/Rod Serling of film, yet with his own unique signature. This makes three `originals' in a row for Shyamalan, a rare feat even among the greatest directors. The question now is, how is he ever going to top it? 10/10.