The viewers who were attending Saturday night's showing of M. Night Shyamalan's new film, Split, were diverse. There were the usual teen horror movie crowd that wanted to laugh and scream at something while looking at their phones, middle-aged folks who were searching for something new, and a handful of people itching to see if Shyamalan has genuinely returned - that handful included me.
Consistently, he has released a film every two or three years, but without critical success. A director known for his plot twists and evident Hitchcockian influence, it was disappointing that release after release, we weren't getting the same chills and thrills of his earlier works like The Sixth Sense (1999) and Unbreakable (2000). Films like Lady in the Water (2006) and The Happening (2008) were so incoherent and - for lack of a lighter term - awful, that I wondered if his beginning works were all he had to truly offer. From that point on, I wasn't attracted or interested in any of his later projects. That is, until I saw the first signs of Split.
The trailer for Split was captivating. The plot was familiar, yet it seemed to have an original twist. Reservation came when his name was revealed to be attached to the film, but the hope for a break in routine was stronger.
Split's first moments get straight to the point. Without being flashy or showy, three high-school girls - two socialites and the other a misunderstood outsider, Casey, played by Anya Taylor-Joy (The Witch, Morgan) - are kidnapped by a mysterious man. It is unknown why they are dragged into a dungeon of cement and locked doors. Soon the layers begin to peel back and reveal the true horror of what awaits in the mind of their captor (James McAvoy). He goes by many names (Dennis, Patricia, Hedwig, Barry, Kevin, "etc."), as he suffers from Dissociative Identity Disorder with 23 developed personalities. We learn of the captors condition through the interweaving side story of his psychologist, Dr. Karen Flether, played by Betty Buckley (Carrie). Her character mimics what the psychologist in the last scene of Psycho did for Norman Bates, but on a much more involved level.
It can be expected that Shyamalan will follow his normal routine of directing his audience to believe the legitimacy of a plot line, and only three quarters of the way through, throw a wrench in that understanding of characters and motivation, leaving the plot upside down and backwards. It worked for Sixth Sense, but over time it has turned itself into his cliche. However, his cliche has been given a makeover in Split, where Shyamalan takes his time, letting the plot boil, allowing the audience to learn and explore the situation, careful not to betray their confidence in his direction. Certain shocking and horrifying things are revealed of the captor's past, yet even more is revealed of Casey, which in effect serves the story immensely and gives it the extra depth and psychological development it deserves. Without it there stands the chance of the film being "another scary movie" with no rhyme or reason other than gross receipts.
Shyamalan's use of camera and focal positioning keeps the film close and tight. With the talents of cinematographer Mike Gioulakis (It Follows),Shyamalan keeps his composition contained and enclosed, creating an experience where we are face to face with these characters, almost as if we are looking into their mind. And once the puzzle falls into place and the situation becomes do or die, he opens up the frame, creating a handful of masterfully tailored shots that serve to terrify. Notably, one such shot being near the end of the film of a long, industrial hallway as McAvoy's distant figure approaches and preys on his next victim.
Most importantly, casting is a crucial ingredient enabled effectively in Split that could have been for the betterment of Shyamalan's past projects. James McAvoy performs a chilling depiction of this psychologically complex man and makes the transformations and personalities incredibly believable. And on the other side of the locked door is Anya Taylor-Joy, whose performance as a young girl, betrayed and broken for more reasons than her current predicament, gives this film a heroine we aren't used to in mainstream horror-thrillers. When the the two are isolated together in a few scenes, it creates the best moments the film has to offer.
Granted, Split has its faults. For some, the "twist" that Shyamalan presents may be a bit of a stretch compared to the realism of the rest of the film. And even though he didn't give in to his usual formula, Shyamalan couldn't resist throwing a curve ball at the audience by following the Marvel standard, placing an end credit scene that may or may not lead to an expanding Shyamalan universe. When the connection to a prior Shyamalan film was made, I did find myself intrigued, if at least a little.
After leaving the theater and digesting what I had just consumed, I found myself entertained and thrilled. It was nice to finally watch a film by Shyamalan that captivated and drew me in, causing me to want to solve the puzzle with him. The equation of an intriguing story and utilization of a talented cast made the film work, giving us a glimpse of the director we once knew. I am happy to say I am looking forward to what comes next. Welcome back, Mr. Shyamalan.
​Rating: 4.0/5.0
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