Given his past success, M.
Night Shyamalan has a lot to live up to. Here is a director with a known modus
operandi, a desire to challenge summer audiences with his glacial pacing, and a
weakness for monkey business. "The Village" (IMDb listing) is his latest offering, coming on the heels
of his unexpected blockbuster, the alien invasion/faith challenging/crop circles
bonanza, "Signs." Though loaded with unhealthy expectations, "The Village" turns
out to be Shyamalan's most graceful, emotionally persuasive supernatural
thriller to date.
It's that supernatural part that bothers me the most. Shyamalan is far too well
known as a master (often self-appointed) of the horror/thriller genre, and "The
Village" plays right into that, with the B plot of the film focusing on the
eerie happenings deep within the woods that border the village. But at the core of
all the monsters, darkness, and hysteria is a deeply moving love story between
Lucius (Joaquin Phoenix) and Ivy (Bryce Dallas Howard). At its heart, "Village" is a
costume drama exploring the microcosm of this tiny population that is entirely
reliant on each other. "Village" is most appealing when it steps back and watches
these characters interact, captured with Shyamalan's meticulous, mannered camera
moves and pace.
But restraint and tenderness can only last so long, and soon enough Shyamalan
whips out his specialty: the scares. "Village" isn't quite the chiller "Signs"
was, nor does it even aspire to be. Shyamalan almost appears to be using the
forest angle of the story just to appease his fans; his heart doesn't seem in it.
Also keeping "The Village" blooming is at least half of the cast, who give
durable performances even with the screenplay's lack of refinement. Actors
Sigourney Weaver, Judy Greer, and Brendan Gleeson fall down hard trying to wrap
their tongues around the thick, obtrusive dialog. William Hurt and Joaquin
Phoenix understand what the film requires, and they rise above what they've been
given. In the lead role of Ivy, newcomer Bryce Dallas Howard (daughter of Ron)
is a revelation, bringing strength, innocence, and conviction to a tricky role.
Shyamalan is wise enough to simply turn his camera on and focus on Howard's
radiant facial features, for that alone is more compelling and communicative
than any passage of old English or brooding shot of misty woods. I expect great
things from this marvelous actress.
Yes, there is a kicker twist ending, which, of course, I won't reveal here. I
will say that, while the climax has "Twilight Zone" overtones, Shyamalan does a
satisfactory job not pounding it to pieces. The problem with the ending is that it is an unsatisfactory payoff for the previous 90 minutes of tension.
As meaningful as the finale is, it's a muted conclusion to an edgy film, and that just isn't a smart way to play
it. What M. Night Shyamalan has with "The Village" is 3/4 of a great film, which is a lot more than what he's had before. If
he would drop the "Shyamalan" bells and whistles, there could be a
lot more to this filmmaker than what we've been led to believe.
Filmfodder Grade: B+
