By: debbie lynn elias
Let me preface this review by stating I will not be revealing too many plot details because as we have come to know, in films by M. Knight Shyamalan, even a little revelation can be too much. But, let me also state, “The Village” pales in comparison to his prior works, “The Sixth Sense” and “Signs.” Knowing that hidden clues and meanings that force the viewer to take pause and reflect, even rethink what they have just seen, abound in Shyamalan’s films, has created a savvier moviegoer who now scrutinizes the film for same. And with a more challenging and observant audience, the filmmaker is forced to raise the bar just to keep one step ahead of them. Sadly, Knight fails to do that here and much of the expected carefully crafted revelations and crisply constructed characters are missing.
The setting is southeastern Pennsylvania farmland, circa late 1890’s ,although the setting and characterizations could easily fit into the 1700’s, 1800’s or even today in a very orthodox, Quaker or Amish society. (Although based on the dialogue and being familiar with the Lancaster area and the Amish, tend to rule out the latter.) There are no phones, no cars, no electricity, no indoor bathrooms. The clothing makes me think, Pilgrim. This a closely knit community, set apart in its own secluded area, closed off to the outside world by a forest which surrounds it. Everyone helps everyone and everything is a community effort as is effectively shown in the opening funeral and post-service gathering where all congregate around long wooden tables laden with food prepared by the women. (Again, I think Pilgrim but I also expect to see the Indians joining the feast.).
The funeral sets the stage for our town introductions and we meet our key residents – Edward Walker, the town elder and schoolteacher; Lucius Hunt, a shy, inquisitive yet bold young man who dares to imagine and think beyond the quiet life everyone lives; Alice Hunt, Lucius’ widowed mother; Ivy, Edward’s blind daughter who despite her blindness has more strength and inner fortitude than the entire community combined; and let’s not forget the village idiot, Noah.
The forest surrounding the village is the key to their solitary life. It is well known that mysterious, hideous, violent creatures dressed in red with claws seemingly made of twigs live in the forest. Watchtowers and torches set around the inside perimeter of the town remind the residents not to venture forth into the forest, further solidifying their separateness and solitary existence. Known only as “Those We Do Not Speak Of”, generations ago a truce was declared between these vile creatures and the townspeople, i.e., you stay on your side of the fence and I stay on mine, but recently, something has upset that truce. The creatures have been killing small animals and leaving their red claw marks on the front doors of the townspeoples’ homes. (No surprise here; red is a trademark “tell” of Shyamalan that this is something of significance.)
Things get a bit dicey and intensify when young Lucas pleads with his mother and Walker to venture to an actual town some many miles to get medicine for many of the townspeople who have suddenly taken ill. The problem lies in that he must go through the forest. Afraid to break their end of the deal with Those We Do Not Speak Of, the town denies Lucius’ request; that is until one of the town folk is critically injured and Edward’s daughter Ivy succeeds in persuading her father to allow her to cross the forest into the outside world.
Despite the quality veteran actors at work here, all eyes will be trained on newcomer Bryce Dallas Howard with her performance as Ivy. (And yes, she is the daughter of Ron Howard.) Powerfully poignant, gifted with an inner fortitude that transcends the story and an expressive multi-dimensional faceting of characterization, Bryce steals every scene and does, in fact, rise above, the weak plot points (including her wearing a yellow riding hood walking through the forest much like Little Red Riding Hood) and dialogue. Either its genetic, excellent tutelage by her father or a combination of both, but her work surpasses all others in the film. Relying on Bryce’s excellence is Shyamalan veteran, Joaquin Phoenix as Lucius. Effective, thanks here to his chemistry with Bryce, Joaquin exudes a tacit strength that works well in Shyamalan thrillers. Veterans Sigourney Weaver and William Hurt as Alice and Edward, respectively, seem out of place and “lost” with no real character definition or emotion, due in large part, I believe, to the sub-standard Shyamalan script. For whatever reason, “The Village” is just not up to par with his prior works.
And as for the script, written by Shyamalan, the story is replete with lots of missing links, no “fill” to provide a backstory, premature climax which leaves one with a feeling of being short changed, multiple sub-plots that start and suddenly stop with no rhyme or reason, and lack of attention to individual characterizations and detail, make this a surprising disappointment. But don’t despair, there is still enough fear and anticipation to raise a few hairs on one’s neck, although I doubt if your fingernails will be digging into the seat or your date’s knee (something a friend of mine is happy about I’m sure).
While it’s not a well crafted script that elicits fear, Shyamalan does get kudos for the technical accomplishments that help overcome some of the other lesser aspects of the film. Cinematographer Roger Deakins champions the cause with his work, not only with his use of muted palettes accented with the trademark Shyamalan red pop-ups, but through some very effective hand-held camera stylings that are guaranteed to raise the threat level a few notches. Intensifying the technical excellence is an effective score by James Newton Howard, who also scored for “Signs.” Again, his work helps elevate the lackluster scripting.
Despite its shortcomings, “The Village” still qualifies as an exceptional thriller, and as to be expected, does require a second viewing to pick up all the “tells”. And while it has some distinct moments that are capable of scaring the pants off you, when compared to Shyamalan’s more meticulous works, for the avid Shyamalan fan, disappointment is the guaranteed outcome.
Lucius Hunt: Joaquin Phoenix Ivy Walker: Bryce Dallas Howard Edward Walker: William Hurt Alice Hunt: Sigourney Weaver Noah Percy: Adrien Brody
Written and directed by M. Night Shyamalan. A Touchstone Pictures film. Rated PG-13. (120 min)
