HOLLYWOOD PICTURES AND SPYGLASS ENTERTAINMENT PRESENTS A KENNEDY/MARSHALL/BARRY MENDEL PRODUCTION BRUCE WILLIS "THE SIXTH SENSE" AN M. NIGHT SHYAMALAN FILM TONI COLLETTE OLIVIA WILLIAMS HALEY JOEL OSMENT MUSIC BY JAMES NEWTON HOWARD COSTUME DESIGNER JOANNA JOHNSTON EDITED BY ANDREW MONDSHEIN PRODUCTION DESIGNER LARRY FULTON DIRECTOR OF PHOTOGRAPHY TAK FUJIMOTO EXECUTIVE PRODUCER SAM MERCER PRODUCED BY FRANK MARSHALL, KATHLEEN KENNEDY AND BARRY MENDEL WRITTEN AND DIRECTED BY M. NIGHT SHYAMALAN
"Not every gift is a blessing" So say the ads heeding the release of Hollywood Pictures surprise sleeper. Director M. Night Shyamalan has crafted a marvelously creepy and soulful tale of terror and redemption.
The film opens with the celebration of psychologist, Dr. Malcolm Crowe (Bruce Willis) and his wife Anna (Olivia Williams), after having received a commendation from the Mayor of Philadelphia. Intoxicated and relaxing, the loving couple is unaware of an intruder in their house, Vincent Gray, (an unrecognizable Donnie Wahlberg) distraught over his treatment by Dr. Crowe. Unable to cope with his mania and claiming to know why 'people are afraid when they're alone', Vincent shoots Dr. Crowe and then turns the gun on himself.
Several months later Dr. Crowe is a changed man. Disenchanted over the failure of his treatment with Vincent Gray and the slow estrangement of his marriage, Dr. Crowe anxiously needs the redemption that successfully treating a patient would bring. His chance comes when he meets 9 year old Cole Sear (Haley Joel Osmant), a boy traumatized by his ability to see the dead. Slowly, Cole and Dr. Crowe build a relationship. Slowly Dr. Crowe starts to believe the young boys stories of otherworldly intervention. His investigation and research lead him to evidence that these spirits visiting the boy may actually looking for help. In a remarkably deft and heartfelt (not to mention surprising) conclusion, Dr. Crowe manages to help the boy realize and accept his gift while also coming to his own redemptive conclusion.
The script by Mr. Shyamalan is so deep with nuance and characterization that one grows to appreciate and care about these people. And when the ghosts start to make the manifestations physical, the effect is startlingly chilling. The best filmic comparison would possibly be the interesting "Jacob's Ladder'. What Mr. Shyamalan has crafted is possibly one of the best, character rich horror films since Robert Wise's "The Body Snatchers".
The performances are uniformly excellent, with Haley Joel Osmant performance the standout. What showed as a promising debut as a young Forrest in the classic "Forrest Gump", Haley Joel Osmant has grown with each performance (most notably the underrated "Bogus", opposite Gerald Depardieu). What young Mr. Osmant does in this film is nothing less than extraordinary. With the subtlety of an Olivier, Mr. Osmant brings a truth and earnestness to his performance that is infective. Within five minutes of screen time, one believes that this boy does in fact see ghosts. I hereby cast my vote, and urge the Academy of Motion Pictures and Sciences to set aside a Best Supporting Actor's nod to this young talent. Mr. Osmant is more than worthy of it.
Bruce Willis, always maligned as an actor (everyone seems to forget his marvelous performances in 1989's "In Country" and 1994's "Pulp Fiction'), gives a retrained and poignant performance. His slow realization of his situation and that of his young patient may be more than he expects is so on key, that the revelatory denouncement of the film is both surprisingly shocking and expected. An underrated performer doing what he does best. Bringing nuance and depth to his character, in such a way that it takes the audience off guard.
The best surprise in the film is Toni Collette as Lynn Sear, Cole's single Mother. Unlike other film representations of parents in film, Ms. Collette brings a degree of warmth to her role that is so refreshing that it could be held as an example of single parenting. The depth of her convictions and emotions are so well realized that we respond to her passionately. Also, while not being the traditional Hollywood glamour type of parent, Ms. Collette's physicality brings with it a comfortable familiarity. From her early recognition in "Muriel's Wedding", Ms. Collette has proven herself to be an actress of both depth and conviction. And those two qualities shine in this film brightly.
To comment on M. Night Shyamalan's direction is to witness a filmmaker, who is above all else a classic storyteller. Never does the camera call attention to itself. The cinematography by Tak Fujimoto is so unobtrusive that the shocks in the film do not seem to be set up, coming as almost complete surprises.
Mr. Shyamalan's handling of even the quiet scenes is stunning. Most notably is a sequence wherein Dr. Crowe listens to the audio recordings of his sessions with Vincent Gray. The slow, almost cautious increase of volume, which finally reveals the ghostly voices of those haunting Vincent, is marvelously cinematic. In his earlier film 'Wide Awake" also dealt with the idea of death and the afterlife, but with a lighthearted and sentimental approach. Here, with this film the essence is on redemption.
Without revealing the ending of the film, one must conclude that not all of the characters will be able to deal with the changes in their lives. But the ultimate realization that the acceptance of death can be more healing than any treatment can.
On a scale of one to five, "The Sixth Sense" rates a supernatural 4. A marvelously creepy and thought provoking scare fest. One that will have you talking for days.
Copyright © 1999 R. L. Strong Nothing in this article may be quoted or re-printed without the expressed written permission of the author
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