When my friends learned that I was too, let’s say, nervous to go to Mel’s latest big screen effort, they would call and express their undying support for my dilemma. “You haven’t seen it YET? What’s the matter? Isumms SCARED? Hahahahahahahaha.” they say. Or, they attempt to reassure me about the movies’ terror level with reassuring comments like “It’s really not THAT scary. At the show I went to only three people had to have their hearts started again. And I’m sure that row of people that passed out during the cornfield scene are going to be just fine.” 

When I just couldn’t stand knowing that there was a movie out there that featured my favourite mischievous Hollywood actor that I hadn’t yet seen I went out to the theatre. (Not my usual one though, hoping that if I embarrassed myself too terribly I could always choose not to return to that particular cinema.) I can say without fear of contradiction, that Signs is one of the most frightening films that I have ever seen. (As evidenced by the amount of times I shrieked, and attempted to assist the onscreen characters. Why doesn’t that ever work?)

Signs is the story of self-exiled priest Graham Hess’ search for the truth. Struggling to put a life together after the accidental death of his wife, Hess wakes up to find a bizarre pattern has been etched into his cornfield. After exploring all the earthly possibilities for this phenomenon, he’s forced to look elsewhere for an explanation. 

Mel Gibson (Maverick, Gallipoli) stars as the lost Father. I, like every other person with a pulse, think Gibson, is just drop dead gorgeous. I however, am continually impressed by the fact that this man who could very easily coast through a career based solely on his looks, chooses instead, to take the tougher roles, like this distant parent. In the hands of a less amiable actor, I think Hess would have fallen flat. His character is so expressionless and cold,  but director Shyamalan uses Gibson’s charm to it’s full potential,  effectively underscoring that icy layer with a kindness towards his family and friends making the audience root for him. (And, in certain moments, scream helpful directions at him. “DON’T GO INTO THE KITCHEN YOU CRETIN!!”  And so forth. Those of you who are still shuddering from the knife-coming-out-from-under-the-door scene will know what I’m talking about.)  Watching this film, it’s very easy to understand why it is that Gibson jumped at the chance to play this part. Unlike so many movies of the alien invasion genre, (here I am thinking mainly of Independence Day) Gibson’s every onscreen moment plays as 100% genuine. The nice thing about Gibson’s Hess is that he makes himself immediately identifiable to the audience. When you take away the fact that aliens may or may not be landing in his cornfield, Hess is just a normal, everyday guy trying to figure out how to carry on after the loss of his wife. Gibson’s reactions to an out of this world situation are real. There aren’t any emotionally forced speeches, or moments of over the top acting, (Here, in both cases, I am thinking of Bill Pullman in Independence Day). Gibson’s Hess is EXCEPTIONALLY moving. It’s possibly his best role since Gallipoli. 

I have never made any bones about the fact that I am not what you would call a Joaquin Phoenix Fan. (Quills, 8mm)  I disliked him in To Die For, I thought Russell Crowe left him waaaaaaaaaaaaaaaaaay behind in Gladiator. Here, whether it’s the fact that Gibson tends to elevate the performers he appears with, Shyamalan’s scary amount of talent as a director, or a flash of talent beginning to shine through, but I really enjoyed his performance as Graham’s younger brother Merrill. Merrill’s character is one of the most interesting in the film, being the brother that gave up a career to move home and help Graham with the children after the death of their mother. I am usually put off by the amount of ego that Phoenix gives the majority of his roles. Here, there is none. All throughout the film you discover little bits about his life (baseball star, all around good athlete) but none of it is trumpeted by Merrill, ending the “PAY ATTENTION TO ME” streak that Phoenix had been pumping into his characters. There’s an innocence to Merrill, a personality constructed by someone who understands the small town life that makes him come across as gentle. I thought Phoenix was tremendous here, and would recommend that anyone who had been keen to dismiss movies simply on the basis of his presence in them should go to see Signs. It will elevate your opinion of the actor ten-fold.

Since watching Sign’s director’s (M. Night Shyamalan’s) first foray into the big budget world (The Sixth Sense) I have been convinced that he was the closest thing that film audiences will ever find to Hitchcock. In most every frame of Signs I found that FINALLY someone else had figured out that a movie watcher has an imagination. FINALLY another writer/director has twigged that not showing us something, and merely suggesting it’s presence is far more frightening then actually constructing an alien to waggle it’s tentacles about at you. (Here, again, I am thinking of Independence Day.) FINALLY someone else has realized that in order to make the most extraordinary stories palatable to an average everyday audience, you need to fill the stories with average people. Make their reactions real, their emotions genuine, and you’ll pack the theatre again and again. 

I give Signs my highest recommendation. It’s a wonderful example of letting the audience participate in the movie-going experience by using their own creative energies to add to the tension of an already wonderful work. It’s a great night at the movies. (But a jittery drive home.) You may want to consider a matinee......

Jen Johnston
 
 

Search this site or the web        powered by FreeFind Site searchWeb search