Glass of M. Night Shyamalan | Review


Published on Jan 10, 2019


In 2019, now that the cinecomic is now solidified as a film genre, the arrival of a work which reasons on its stylistic elements and tropes of narrative was not only desirable, but also perhaps necessary. With Glass the director M. Night Shyamalan seems to have sensed this need of the artistic, and in fact it is not a coincidence that the best moments, those that are the most satisfactory of the film with James McAvoy, Bruce Willis and Samuel L. Jackson, they are the ones that are moving in this direction, that you are wondering about the meaning of the histories of superheroes and their importance in the collective imagination as in the film industry.

The problem is that the director, perhaps frightened by his own a reputation of surprising the narrator (not for nothing its generality has been coined the term Shyamalan Twist), being faced with the choice of pursuing this need philological research or to beat the famous stud still hot of the Universe, the Narrative opts for the more commercially safe, orchestrating a conclusion that the conclusion of a so much is not, but that certainly he will, in the future, the possibility to continue this non-saga was founded almost nineteen years ago.

The shot of the scene with which concluded Split – film that started in one way and retroactively became the other – is one of the largest ever orchestrated in the history of cinema, the result of the unique union between a level of secrecy of production and very rare (especially today) and a gimmick of genius, of course designed to ride the wave of the success of the genre of superheroes at the cinema. Unfortunately, however, Glass is not a upper sum of the individual parts that compose it, and, if anything, is proof that a film great and pioneering as "Unbreakable", plus a thriller, sophisticated and intelligent as a Split, not necessarily a project just as great.

Crossover/sequel two thriller written and directed by Shyamalan and starring Bruce Willis and James McAvoy, the Glass begins nineteen years after the battle bar to the end of the friendship between David Dunn (Willis) and the Man of Glass, Elijah Price (Samuel L. Jackson) and a few months after the liberation of Casey Cooke (Anya Taylor-Joy) from the clutches of the fearsome and ferocious killer Kevin Wendell Crumb (McAvoy), a psychopath in whose inhabit twenty-four personalities.

The three parties will end up between the care of dr. Ellie Staple (Sarah Paulson), whose goal is to convince them (and, by reflection, to convince the audience) that there is nothing superhuman abilities of the players, who would otherwise be victims of serious psychological traumas and physical: his thesis is that these imaginary “super powers” are completely explainable scientifically, but neither He nor the film give it too much rope, if not with the exception of a scene, that is the most beautiful of all.

If Glass had had the courage to doubt himself and push your audience to read in a retrospective of the work as it was already been with the two previous chapters could be the manifesto of an entire film, but obviously the goal of the director was only to add a non-saga born a little’ for the event and give it a conclusion worthy, leaving at the same time many doors open for future projects. Certainly it is intriguing to think – and the finale of this Glass is pushing in this direction – that each new film of the author may be in any way related to this “Universe”, but the contents and theme it was fair to expect more.

It remains a direction that is sublime, which returns to the refined stiffness of the first feature-length films, while the interpretations of the three stars give the story the realism that the author ardently seek: the passage of time is all in the faces of Jackson and Willis – bruised, aged, tired – while the talented eclecticism McAvoy (here to the test best of his career) will accompany the different rhythms of the narrative. Almost completely useless the supporting cast, with the triangle composed by the Taylor-Joy, Spencer Treat Clark, and Charlayne Woodard (who return from Unbreakable) very forced, as they are forced the many steps of the script.

In essence, Glass is a final chapter (?) that did not break up ever, as the bones of The Man of Glass, aka Mr. Glass, but that certainly seems to be equally as fragile if compared to the unbreakable Unbreakable, and the crowds Split.

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