Review: The Village
M. Night Shyamalan's fourth film, The Village, follows somewhat predictably, if enjoyably, on his last three. With him again from Signs is Joaquin Phoenix (Signs, Gladiator), along with Ron Howard's daughter Bryce Dallas Howard in her debut and Adrien Brody (The Pianist).
What I found most appealing in this film was its picture of a quaint, tight-knit agrarian society where family, community, and something approaching traditional morality are the cornerstones of a simple, happy, attractive way of life. The village is all most of its inhabitants have ever known, and so they are content with life in the town. No doubt this contentment is also fostered by fear of the creatures in the woods and the tales of an depraved society beyond. Indeed, it takes a very alien perspective to realize the extent of the corruption and decadence in our modern American culture. Living in a manner such that ties to family, community, and the land are so vital produces a strong sense of belonging that is all too absent from the lives of most Americans today.
Shyamalan incorporates more than one twist and suspense-building effect into this story, some of which work better than others. One of the more subtle, and effective, is that until the end of the film we've no idea when or where this story takes place. It could be pretty much any time between the mid-19th century and the present, and anywhere in North America, Europe, or perhaps beyond. When the answer is finally revealed, it sharpens the contrast mentioned above between the ugly modern world and the simple life of the village which is beautiful for its simplicity.
Another unexpected twist is that Phoenix's character, Lucius isn't the hero of the film. His Fiancée, Ivy (Howard), overcomes her blindness in saving Lucius and, in a a way, the entire village. Howard plays the part with stunning grace and depth, mesmerizing the audience with the beauty of her character's inner strength. The romance between Lucius and Ivy is satisfying and appealing, picturing by the understated strength and beauty that flows from the shared values and perspective held by the entire community.
As noted before, Shyamalan uses a number of surprises and twists to move the plot along. Unfortunately, after The Sixth Sense, Unbreakable, and Signs, the audience expects them and so they don't pack the punch we felt, for example, upon learning Bruce Willis was a ghost in The Sixth Sense. As in Signs, actually seeing the monsters cuts down significantly on their scariness. Furthermore, the revelation of the creatures' true nature comes so early that the rest of the film stumbles its way to a close that neither packs a suspense-movie punch nor draws smoothly to a satisfying end.
The kind of peaceful, loving, tight-knit community Shyamalan portrays in the village only makes sense if it's based on a set of shared values, and such values only seem to make sense if they're based on divine revelation and a shared religion that binds the townspeople together and animates their love for one another. The village lacks a church or a pastor, or indeed any kind of distinctly religious component, and the effect is that of an 18th-century Puritan New England town without God or any knowledge of him. It's unlikely these values could be established, let alone sustained, in such an environment.
All in all, The Village is a passable addition to Shyamalan's repertoire, though it doesn't sparkle like some of his other films. Twists and surprise endings won't work for him any longer, though, unless he comes up with something very innovative for his next film. Personally, I'd like to see him branch out and try something other than another suspense film. This one has several appealing points, but the genre is a limited one and Shyamalan risks becoming too predictable.
I give it a 5 out of 10.
Point
What I found most appealing in this film was its picture of a quaint, tight-knit agrarian society where family, community, and something approaching traditional morality are the cornerstones of a simple, happy, attractive way of life. The village is all most of its inhabitants have ever known, and so they are content with life in the town. No doubt this contentment is also fostered by fear of the creatures in the woods and the tales of an depraved society beyond. Indeed, it takes a very alien perspective to realize the extent of the corruption and decadence in our modern American culture. Living in a manner such that ties to family, community, and the land are so vital produces a strong sense of belonging that is all too absent from the lives of most Americans today.
Shyamalan incorporates more than one twist and suspense-building effect into this story, some of which work better than others. One of the more subtle, and effective, is that until the end of the film we've no idea when or where this story takes place. It could be pretty much any time between the mid-19th century and the present, and anywhere in North America, Europe, or perhaps beyond. When the answer is finally revealed, it sharpens the contrast mentioned above between the ugly modern world and the simple life of the village which is beautiful for its simplicity.
Another unexpected twist is that Phoenix's character, Lucius isn't the hero of the film. His Fiancée, Ivy (Howard), overcomes her blindness in saving Lucius and, in a a way, the entire village. Howard plays the part with stunning grace and depth, mesmerizing the audience with the beauty of her character's inner strength. The romance between Lucius and Ivy is satisfying and appealing, picturing by the understated strength and beauty that flows from the shared values and perspective held by the entire community.
Counter-Point
As noted before, Shyamalan uses a number of surprises and twists to move the plot along. Unfortunately, after The Sixth Sense, Unbreakable, and Signs, the audience expects them and so they don't pack the punch we felt, for example, upon learning Bruce Willis was a ghost in The Sixth Sense. As in Signs, actually seeing the monsters cuts down significantly on their scariness. Furthermore, the revelation of the creatures' true nature comes so early that the rest of the film stumbles its way to a close that neither packs a suspense-movie punch nor draws smoothly to a satisfying end.
The kind of peaceful, loving, tight-knit community Shyamalan portrays in the village only makes sense if it's based on a set of shared values, and such values only seem to make sense if they're based on divine revelation and a shared religion that binds the townspeople together and animates their love for one another. The village lacks a church or a pastor, or indeed any kind of distinctly religious component, and the effect is that of an 18th-century Puritan New England town without God or any knowledge of him. It's unlikely these values could be established, let alone sustained, in such an environment.
All in all, The Village is a passable addition to Shyamalan's repertoire, though it doesn't sparkle like some of his other films. Twists and surprise endings won't work for him any longer, though, unless he comes up with something very innovative for his next film. Personally, I'd like to see him branch out and try something other than another suspense film. This one has several appealing points, but the genre is a limited one and Shyamalan risks becoming too predictable.
I give it a 5 out of 10.
posted by Jeff at 6:14 PM
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