Signs Is the M. Night Shyamalan Experience at Its Best

As a film enthusiast who has grown up watching M. Night Shyamalan‘s works, I must admit that his unique style and storytelling have always held a special place in my heart. From the intricate twists to the oversentimental narratives, there’s something about his films that resonates deeply with me.

Each Wednesday in August, Vulture is inviting readers to join our Wednesday Night Movie Club by watching a selected film together. This week’s pick is Signs, a movie highly recommended by Vulture critic Nicholas Quah. He will start streaming it on his account this coming Wednesday, August 6th, at 7 p.m. ET. Don’t forget to tune in to Vulture’s Twitter for live commentary during the screening!

As a dedicated cinephile, I must confess that I still can’t hide my enthusiasm for a new M. Night Shyamalan movie. Over the last two decades, it might seem odd or even passé to be so smitten with his films, especially his early works which once promised him a successor crown to Steven Spielberg.

In essence, I’m open to discussing any film by M. Night Shyamalan, whether it’s praised or panned. Yes, he’s made movies like ‘Airbender’ that are hard to justify, but remember, every productive director has their flops. On a regular day, it wouldn’t take much to get me chatting about how ‘The Happening’ offers an intriguing perspective on eco-horror, or why we should cut him some slack for casting himself as a writer with a crucial destiny in ‘Lady in the Water’. It seems he was exploring new ideas. So let him experiment!

Signs isn’t one of M. Night Shyamalan’s less popular works; instead, it’s a cherished favorite among his body of work. Released in 2002 as his third film, to me, it marks the first authentic Shyamalan production due to its unabashed exploration of the director’s saccharine tendencies, which were previously veiled by The Sixth Sense’s refined reputation and Unbreakable’s mysterious atmosphere.

“Nobody is watching us, Merrill,” he states, “We are all isolated.”

Absolutely, my favorite character, Graham, needed some growth, so the story in Signs concludes with him regaining his faith through an unexpected turn of events. You could call it a twist if you’d like. In the midst of an alien invasion in our living room, it seemed like everything was against us. But little details that initially appeared unrelated ended up saving us. For instance, Morgan’s asthma kept him alive during the alien’s gas attacks. And when we discovered water was the creature’s weakness, those random glasses of water scattered around the house turned into deadly traps. Merrill even used an old baseball bat to smash them in the alien’s path. It felt like a series of coincidences, but looking back, it seemed more like fate orchestrating a miracle for us.

Indeed, everything is neatly organized. It’s somewhat simplistic, even amusing, that the film’s themes are so evidently presented, which is characteristic of Shyamalan. And yes, delving deeper isn’t necessary to unravel the plot of the movie. The aliens, who are fatally allergic to water, arrive on a planet saturated with water, Earth, to collect humans, who are composed of 70% water? If the evidence of miracles hinges on a chain of events that protected the Hess family, what do we infer about the rest of humanity, said to have experienced massive casualties during the invasion? However, let’s not overcomplicate things. When James Newton Howard’s score intensifies in the climax, it always resonates powerfully. If there were ever a filmmaker whose creative endeavors align with the philosophy of Tenet when Clémence Poésy advises, “Don’t try to understand it, feel it,” it’s Shyamalan. So, just go with the flow, my friend.

M. Night Shyamalan himself considers Signs as the most delightful movie he’s ever produced, and it certainly shows. Compared to his other works like The Sixth Sense and Unbreakable, which are intense and somber, Signs feels lighter and more agile. The humor in the movie seems to flow effortlessly – there’s an inherent comedic aspect to the story of a former priest whose skepticism initially hinders his understanding of the alien invasion happening right before his eyes. The warm tones of rural Bucks County, Pennsylvania, make the film’s world more inviting and pleasant. In the run-up to Trap, Shyamalan explicitly linked these two films, expressing enjoyment in working on both scripts despite their dark themes. He also mentioned that he wrote the script for Trap faster than any other, with Signs coming in a close second. (To be honest, you can sense the speed at which it was written.)

As someone who has grown up watching M. Night Shyamalan’s films, I can’t help but be drawn to his unique style despite the criticisms that are often leveled against him. Over the years, I’ve come to embrace the Shyamalan experience for what it is – a rollercoaster ride of emotions, twists, and themes that resonate deeply with me.

Despite the apparent changes in his recent films following “Airbender,” such as “The Visit,” “Split,” “Glass,” “Old,” and “Knock at the Cabin,” Shyamalan’s distinctive style remains evident. While these movies appear tighter, darker, and more emotionally reserved, they retain the signature elements of a Shyamalan production. Case in point, “Trap” is a fitting illustration. The film’s premise, which revolves around the idea of “The Silence of the Lambs” transposed to a Taylor Swift concert, might seem absurd at first glance. However, beneath its surface, it’s a tale skillfully crafted by a father, for fathers – an ordinary dad, grappling with embarrassment. Despite its simplicity and silliness, it’s undeniably delightful to watch, much like “Signs.”

2024-08-06 23:55

Signs Is the M. Night Shyamalan Experience at Its Best

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