THE SIXTH SENSE
US, 1999, 107 minutes, Colour.
Bruce Willis, Hayley Joel Osment, Toni Collette, Olivia Williams.
M. Night Shyamalan.
Directed by M. Night Shyamalan
An atmospheric thriller where psychiatrist Bruce Willis, after failing to prevent a client killing himself, tries to atone by taking on the case of a boy who can see dead people. It is one of those 'please don't reveal the ending' movies and, for those who don't pick it, there is quite an effective twist.
But the movie, directed by an American whose forebears come from India, M. Night Shyamalan, is strong on using cinematic devices of angles and editing for his eerie mood rather than special effects. The boy, played believably by Haley Joel Osment, draws audiences to him so that they are concerned by his torment. And, an effectively subdued Bruce Willis, draws the audience to wish that he will heal the boy. It is the dead people that he sees, those in some kind of purgatorial torment after untimely deaths, who are frightening.
The American response (and also in many countries) has made this one of the biggest box-office successes of recent years and receiving Oscar nominations for Osment, Toni Collette, screenplay and direction as well as for Best Film, all the more surprising because of its modest budget and its modest scope. It is not a great film or even particularly
memorable but it does very well what it set out to do: fascinate and frighten.
1. The success of the film? Popularity all over the world? The qualities of appeal : the ghost story, the mystery, the twists and the change of perspective? The focus on the young boy? The psychologist and his own personal journey?
2. The Philadelphia locations, the city landmarks, the atmosphere of the streets, the parks, the homes? The city as a character within the film? The musical score, classic and contemporary music?
3. The title, sense of expectation? The work of the director - and his subsequent career? His skill in creating an eerie atmosphere, audiences identifying with the characters, with emotions, with mystery?
4. The eerie atmosphere of the opening, the shadow of the intruder? The wine cellar and Malcolm's wife? The change of atmosphere with the celebration, the bathroom, the award, the intruder invading, the shooting?
5. The months passing, Malcolm sitting in the park waiting for Cole, their initial discussions, Malcolm going home with him? Cole stepping forward or backwards if Malcolm's guess was correct or not? The beginning of trust between them?
6. The film's introducing Malcolm, the light filament and the shadows and the cellar at the beginning, the wine with his wife, the phone, the window glass, the shadow passing, tracking to the bathroom, the naked man? The perpetrator and his being alone? Shooting Malcolm? Malcolm not remembering him, the diagnosis, the fear? Malcolm trying to affirm him? The intruder saying that Malcolm had failed him?
7. The introduction of Cole, his being a case study, Malcolm intrigued by him, following him? The spire, tracking up the aisle of the church, the church as a sanctuary? The way that Cole looked and talked with Malcolm? The quotations, the de profundis, one toy soldier? "I'm going to see you again, aren't I?"
8. Cole and his being at home, his relationship with his mother, her being in a rush, getting dressed, the kitchen, the doors and the drawers all open? The intriguing relationship between mother and son? His wanting to know whether there was something bad about him? The handprint disappearing? His friend?
9. The character of the mother, alone, trying to deal with Cole? The tension with his mother, the hospital, his grandmother's brooch? His loneliness at home with his mother?
10. Malcolm going home, seeing Cole's mother - and the irony that the audience thought she saw him? The reading of the mind game? The psychiatrist, the secrets? Drawing the pictures, the dead man? Everybody being upset, the discussions about the drawings? The possibility of help? The audience identifying with Malcolm and his case study? Cole telling him the secrets? Seeing the dead, they don't know they are dead?
11. Seeing the housewife ghost? Cole's mother and the car? The play and the videos? The exhilaration at the market? The television ad? The missing brooch and the boy ghost?
12. Hannah and the gift of the book, selling the ring, breaking the door window, Cole withdrawing from Malcolm?
13. Malcolm listening to Vincent Gray's tapes, the church, the voice saying listen to them?
14. Lyn's nightmare, the tent and breathing, the ghost, cutting the tent, the funerals, the girl and her being killed, the video for her father? The revelation that the mother was guilty?
15. Cole at school, the atmosphere, the boys picking on him, the play? Malcolm and his affirmation?
16. The accident and the traffic jam, the car, Cole ready to communicate, the ghost at the window, his grandmother's visits, seeing the dance? Asleep with the videos? The revelation of the truth about the murder?
17. Cole going to the house with Malcolm, seeing the girl, getting the video, the father seeing the video and the truth about the death?
18. Malcolm's realisation of what has happened, that he is dead, that he is a ghost and that Cole has helped free him, that he has atoned and his free to pass from his purgatorial state?
19. The overall effect of the switch of perspective? Looking at the film again and realising that the editing suggested things to the audience which actually weren't happening on screen? A satisfying mystery experience?
