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When watching an M. Night Shyamalan film, there is a parallel and simultaneous process of searching for the film’s inevitable twist, which takes place in the background of the viewing experience. Every film the writer-director has made since his unexpected box-office success with “The Sixth Sense” nearly two decades ago has reflected this. We’re curious as to how he’ll dazzle us. What kinds of clues should we be looking for? Is it going to work this time around?
Since then, with mediocre efforts like “The Village,” and bleak outliers like “The Last Airbender,” and dreary aberrations like “After Earth,” which bore none of his signature style, the answer to that last question has become increasingly clear: No, not really. As a result, his latest album, “Split,” is such an exciting return to form for him. “Split” is a thrilling reminder of Shyamalan’s technical mastery, as it is a rare straight-up horror film from the director of “Unbreakable.” Every aspect of his virtuoso camerawork is on display, as is his lifelong, loving homage to Alfred Hitchcock, which includes, as is customary for him, inserting himself in a cameo appearance. And the twist, which is that there is no Big Twist, is one of the most refreshing aspects of the entire storyline.
“Split” is a narrative and pacing that is more lean and taut than anything else we’ve seen from Shyamalan recently. Despite the film’s nearly two-hour running time, it feels like it’s always moving forward, even when it flashes backward to give the audience perspective.
It’s as if he has a spring in his step, despite the fact that he is engulfed in grunge. In part, this is due to James McAvoy’s outstanding performance as Kevin, a kidnapper who manages to maintain two dozen distinct personalities at the same time.
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In a hammy yet entertaining performance, McAvoy portrays a diverse range of characters ranging from obsessive-compulsive maintenance man Dennis to playful 9-year-old Hedwig to prim, British Patricia to flamboyant New York fashionista Barry. Despite the fact that there is a lot of scenery-chewing going on, this is also a performance that showcases McAvoy’s incredible agility and precision. He is required to make both large and small changes, sometimes in the same breath, and it is an incredibly entertaining spectacle to witness.
His portrayal of this troubled soul is both darkly humorous and unexpectedly sad at the same time. The underlying childhood trauma that caused Kevin to create these alter egos as a means of defense clearly continues to haunt him as an adult, as evidenced by Kevin’s menacing demeanor regardless of which personality is in command. In the film’s third act, flashes of vulnerability and fragility emerge, setting the tone for a completely different kind of disturbing atmosphere than previously established.
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First and foremost, however, there is the abduction, which Shyamalan stages in a fast-paced and gripping manner. After a birthday party at the mall, three high school girls pile into a car: pretty, chatty Claire (Haley Lu Richardson of “The Edge of Seventeen”), Marcia (Jessica Sula), and shy, quiet Casey (Anya Taylor-Joy), who was invited along out of pity. However, they quickly realize that the man behind the wheel is not Claire’s father, but rather Kevin, who wastes no time in knocking them out and dragging them back to his makeshift underground lair with them.
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Following Kevin’s repeated visits, each with a different voice and persona, it becomes increasingly clear that their kidnapper is a multi-faceted individual. In the end, only Casey, who emerges as the trio’s cunning leader, has the audacity to speak with him directly. Taylor-Joy can be chilling in absolute stillness with her wide, almond eyes, as she demonstrated in her breakout role in “The Witch” as well as in “Morgan,” just as McAvoy can be showy in his showiness. Especially with the help of quietly suspenseful flashbacks that reveal how Casey acquired her survival instincts, she elevates Casey to a level above your typical horror heroine to root for. In comparison, her co-stars aren’t given nearly as much characterization or clothing, to put it another way.
In addition, the daily sessions that Kevin (or, rather, a version of him) schedules with his psychologist Dr. Fletcher provide us with a more complete picture of Kevin’s mental state (an elegant and soulful Betty Buckley). According to her, having dissociative identity disorder is actually a reflection of the vast potential of the brain rather than a disability. Despite the fact that their conversations are extremely tense, they also provide a welcome source of kindness in the midst of the brutality.
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And they assist us in putting the pieces of this puzzle together—which is actually a number of different puzzles put together at the same time. What Kevin wants with these girls is a question that needs to be answered. Then there’s the question of how they’re going to get away. However, the most terrifying aspect of this entire scenario is how the various personalities interact with one another—how they manipulate and intimidate one another—and whether or not there is a more terrifying force gaining strength.
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West The score by Dylan Thordson, as well as an expertly creepy sound design, contribute to making “Split” an unsettling experience from the very beginning. With a number of plot contrivances and coincidences, the film begins to stutter toward the end of the film and moves in directions that feel a little exploitative, as though the film is wringing cheap thrills from childhood abuse. I’m still trying to figure out how I feel about it, but I do know that I left with a slightly icky feeling, despite the fact that I found the film to be engrossing both technically and emotionally.
In spite of this, it’s enthralling to see Shyamalan back on such solid ground after all these years. Please make every effort to remain seated until the very end to see what other tricks he may have up his sleeve.
For more personality quizzes check this: War For The Planet Of The Apes Quiz.
