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Noah Forrest

By Noah Forrest Forrest@moviecitynews.com

How the Mighty Have Fallen…

Two times in the past week, I’ve gone to the movie theater and seen the preview for Devil.  Both times,  I thought the trailer was well-cut, moody, and effective.  And both times, the audience started giggling as soon as they saw M. Night Shyamalan’s name on the screen.  By no means am I a fan of the man’s recent output – in fact, I’d go so far as to say that the films he’s made since Signs have all been somewhat embarrassing travesties – but I don’t root for anyone’s failure.  I think Shyamalan is clearly a talented individual who has made at least one excellent film (Unbreakable) and one very good one (The Sixth Sense), but I don’t think anything has really changed in him.  I don’t think he’s a different kind of storyteller now, I just think he hasn’t evolved as a filmmaker.  Some chalk it up to an out-sized ego – and certainly there’s proof of that – but I’m not going to play amateur psychologist and assume that’s the case.  I think he is very comfortable making films the way he makes them and doesn’t see that much of a need to listen to outside opinions.

Having said all that, Universal should be more aware of what has happened to the M. Night Shyamalan over the last few years.  I don’t think it’s right that people are laughing at Shyamalan’s producer credit on Devil, but I also don’t think it’s smart for the marketing folks to prominently display the name of a man who has tarnished his brand in the eyes of most moviegoers.  One could point to the $130 million that The Last Airbender grossed, but that film had a built-in audience and still couldn’t make its budget back.

Devil is a smaller film that needs word of mouth and positive buzz.  It seems to be set almost entirely in an elevator with an outlandish premise, but the trailer is cut so well that it intrigued me and I don’t know why the studio would risk putting Shyamalan’s name in lights.  Let’s all hope the film is good and that it is step one in Shyamalan getting back into our good graces.  Step two is letting someone else write his scripts.

One Response to “How the Mighty Have Fallen…”

  1. Jeremy says:

    I have seen this trailer in theatres 5 or 6 times and it is true, every time his name comes up, the audience laughs or boos. And I’m always the guy in the back row screaming “The twist is that he’s been a shitty director the whole time!” I liked Sixth Sense and Unbreakable too, and thought Signs was a guilty pleasure, but the rest have been junk. I saw The Happening opening night, and the audience treated it like it was The Room–no joke. They didn’t throw spoons, but they hurled insults at the screen whenever they could.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé