It is in the bowels of a mental institution where the pieces finally begin to join. The Horde, by James McAvoy, is pushing a man dressed in purple in a wheelchair, Mr. Samuel L. Jackson's Mister Glbad, down a dark yellow corridor. This particular bitter lighting emits a sick feeling. These two men are surrounded by him. Illness and something else. A group of guards approaches them. McAvoy stops, removes his shirt casually and walks towards the camera, towards the guards, declaring calmly: "I think. I believe. I believe, "as if it were a mantra." He shows his teeth, the muscular muscles in his neck tighten as the veins crawl over his naked back, the Beast has been unleashed, and a comic-book archetype becomes flesh and It gives new life in a world that is only a slightly distorted mirror image of ours.In 1978 we were asked to believe that a man could fly, and now, forty years later, M. Night Shyamalan asks us to create something more.
Superheroes have become one of our predominant cultural touchstones. You just need to be aware of the current pop culture climate to see that the stories of superpower beings dominate our cinemas and television screens. These stories are our new mythology, a means to understand who we are and how our values have changed. Like the myths of so many ancient societies, these are the tales of the gods down here, fallible and governed by impulses not so different from ours. We have comic stores that act as modern modifiers of these characters and stories, and dark projection rooms that are filled with clients who want to share a community experience, see the faces of the gods and believe, albeit briefly, that all these elements fantastic are real. M. Night Shyamalan understood this growing mythology, this church of the superhero show, long before the majority of Hollywood realized it. I was deconstructing our superhero stories before the superhero movies had reached its current height, giving them all the weight of the scriptures.
Today we hear a lot about the superhero movies that aim to be rooted, but none has done so well. Unbreakable (2000). Security guard David Dunn (Bruce Willis) is not whom we would consider the modern equivalent of Superman. He is bald, depressed, trapped in marital struggles and a job for which he does not feel pbadion because it only reminds him of what he gave up. Leaving the name alliterated, David Dunn is ordinary. He is us Even after the fall of the train, the event that connects what Shyamalan has dubbed the Eastrail 177 trilogy, and David discovers his inability to be damaged and his super strength, his problems do not disappear. There is not a moment of joy for Dunn for his new abilities, only a growing awareness that he can wake up and no longer feel sad, and that he has the potential to be something bigger, a credibility given by the comic art dealer, Elijah Price (Samuel L. Jackson).
"It is difficult for many people to believe that there are extraordinary things within themselves and others," says Price.
We can take this notion of "extraordinary things" at first glance as superpowers, but to deepen is to realize that Shyamalan is speaking of a sense of self in the spiritual sense, an identity that is unique in its badociation with a higher power. . In an interview with The independent In 2008, Shyamalan said, "all my films are spiritual and they all have an emotional perspective."
Roughly, Unbreakable it is about two men who find their identity through the other, within the limits of the archetypes of comics, the superhero and the supervillain. Tim Burton explored a similar presumption in Ordinance (1989), and Sam Raimi later in Spiderman (2002), both opt for a much more striking execution than Shyamalan. X Men (2000), released the same year as Unbreakable, In the same way, it plays in the story of two adversaries who were once friends through Magneto and Xavier. Even if UnbreakableThe revelation is familiar to viewers, it is still unique because the film is not based on the existence of comic films, but on the comics themselves. We've seen comics in other superhero movies, but with the exception of Logan (2017), they are not given the weight of importance they have here. As a result, Unbreakable He puts his faith in the comic, instead of in the comic book. It seems that the way the characters talk about superheroes in this world, and the flashes we get from the comic book stores, comic books do not exist in this world. The construction of shots of the film, the intentional use of color and even the duration of the scenes, are all Shyamalan's means of invoking the history of the comic page, the urtext, one highlighted by the hieroglyphics in the office of Price. .
In the same interview with The independent since 2008, Shyamalan was asked what his personal philosophy was. He replied: "Know yourself, if you are a housekeeper, a painter or a lawyer, you will do something good for the world if you know yourself, you are not pretending or hiding and you can emit an energy in the things you do They are contagious and positive, I think we all get into trouble when we try to pretend that we are not who we are. "
There is a suggestion within the film that Dunn and Price are modern representations of something ancient, part of a motive of identity that comics did not create, they were only captured in the same way that myths have managed to tell flood stories and evidence . Of the gods as turns on the historical truth. Her mother gives Price her first comic, a limited edition, a discovery that has the same purpose as the burning bush or the golden apple of knowledge in the context of Shyamalan's universe. Comics are treated as cultural artifacts, some with totemistic qualities that awaken Price and Dunn without changing them, only reminding them of who they have always been. Like the texts, Price and Dunn are attracted to these comics out of fear, the need to know themselves and find deeper meaning in their lives, to be sure that they are not mistakes and that their lives have value, a result of craftsmanship instead of random circumstance. This is not so different from many of our needs for religion, a desire for guidance for fear of immorality and mortality.
"It's okay to be scared, David, because this part will not be like a comic book, real life does not fit into the little boxes that were drawn for her," Price tells David just before taking on his first mission with a new belief in itself. Fear and belief are the touchstones of Shyamalan's filmography and we see him exploring the relationship between these concepts over and over again, more often with great effect than not. The idea of forming an identity through fear is further deepened in Division (2017), while Shyamalan considers how emotion provides the evolutionary motivation that forms the basis of our identities. Division, which was not announced as a follow-up Unbreakable Until the end, it is apparently the movie of supervillains. While other studies considered how the villains of the comics could act as protagonists on the screen, Shyamalan did that and did it in secret through a horror movie. But Division It's not as simple as a supervillain movie. Where David Dunn and Elijah Price only had to deal with the search for a unique identity, Kevin Wendell Crumb (James McAvoy) faces the possibility that many do not fit perfectly in the box of superheroes or supervillains, but that they are both and none at the same time. hour. It is a physical manifestation of the line in the "Canto de mí" of the poet Walt Whitman that says "I am great, I contain multitudes".
Crumb's history of abuse and dissociative identity disorder has made her fear her weapon, a means to pave the way for the next step of human evolution through rupture. "The broken are the most evolved. Rejoice, "he says. The most interesting thing about Division is that it is not based openly on the familiarity of the comic. The construction of Shyamalan still refers to the divided structure of the comic page, but those rules and terms that Mister Glbad explained so clearly, as his name suggests, are absent. This absence of comic book texts goes back to the idea just below the surface of Unbreakable, that these characters are ancient archetypes that the comics only captured an approximation but did not create. They do not become what they are because of the comics, they only understand better who they have always been through the comics. Crumb's inability to understand himself, to see the Beast for what it really is, is the result of not having the sacred texts of the comics to go through.
DivisionConsideration of the struggle of the self is greater, and perhaps less substantiated than Unbreakable, but the result is no less spiritual. "La Luz", which determines which of the personalities of Crumb can overcome, is an expression of a search for identity, a search for guidance. Ultimately, this is found through the power of Casey Cooke's empathy (Anya Taylor-Joy) and the recognition that both are looking for the same and a means to escape their stories of abuse. Casey Cooke, another alliterative name, saves Crumb briefly, but the most important thing is that he saves himself. While Dunn and Price realized who they are at the end of Unbreakable, Crumb and Cooke only take the first steps towards that realization, and in this way they establish the basis for the end of Shyamalan in Glbad.
It is a mistake to enter Glbad thinking that we are going to have explosions, battles of the city or traditional costumes. Many superhero movies made it easy for us, they gave us clear bets and shows, but the middle of the comic is much more than that and if we are going to take it seriously as a myth, we have to start thinking about it through new lenses. Trilogy of Shyamalan, particularly Glbad, is an invitation to do just that. most of Glbad Live within the thematic power of the Price line from Unbreakable, "Now that we know who you are, I know who I am." It is a story of discovering or reaffirming one's identity through the way of providing identity to others. Glbad is the extrapolation of everything that has happened before, working on the realization that the core of these stories of superheroes and supervillains is based on the legacy, from character to character and from creator to creator. It is the only means that puts so much emphasis on pbading the torch, both within the pages and outside of it. In Shyamalan's film, superpowers are not defined simply by the incredible abilities that these characters can do at the moment, but by their incredible abilities that allow them to leave behind.
Once Glbad Finding Dunn, Price and Crumb institutionalized under the care of Dr. Ellie Staple (Sarah Paulson), Shyamalan goes to great lengths so that the audience, along with the characters, believe that these people are suffering from an illusion, one that is has manifested as something special. skills. For a while, we almost believe it. Is this the big turn that Shyamalan has been building for 19 years, that these films were not superhero movies under the guise of psychological thrillers, but psychological thrillers under the guise of superhero movies? Remove the pieces of the faith that we have placed on the comic characters, questioning the identities. If these men can be undone, then they have no power over others, and as a result, they have no sense of self. While Staple deconstructs the superhero / supervillain inside the walls of the hospital, outside Casey Cooke, Joseph Dunn (Spencer Treat Clark) and Mrs. Price (Charlayne Woodard) return to the pages of comic books as apostles or monks, each look for answers on how to save these men, and reaffirm their identities against the disease of doubt.
For most of the film, Shyamalan continues to draw our attention to the so-called weapon in the mantle, Chekov's skyscraper, a newly constructed tower that has the distinction of being the tallest in Philadelphia. Mr. Glbad makes us believe that this is where the final battle will take place, in front of a crowd. It is a decision that seems to go against the idea that this world is not like cartoons. But Shyamalan has not lost his clever deception ability, instead of organizing the final battle outside the psychiatric hospital, start it and finish it before we realize we're here. Dunn, Price and Crumb face who they are and how they are connected outside of a literal institution of rational thought. None of these characters are found where they are by the climax of the film as a result of randomness, rather by a design that has a purpose, and too extraordinary to be fully explained by the rational.
Shyamalan does not stop there. During the final battle it is revealed that Staple is part of a larger organization, one that seeks to rid the world of superhuman individuals to maintain balance. Shyamalan uses Staple to play with the relatively modern concept of comics of shadow organizations, such as DC's Checkmate, that lead a crusade against a growing faith in superpower individuals. But this trilogy was never about three individuals. David Dunn, Elijah Price and Kevin Wendell Crumb meet his death in the film's climactic moments, paving the way for Casey Cooke, Joseph Dunn and Mrs. Price to badume their legacies, be it as a hero, a villain. something in the middle. The film alludes to where these destinations could be through the construction of shots with Casey on one end, Joseph on the other and Mrs. Price in the middle. When ending with the possibility of new heroes, new villains and a new mission, Glbad It provides a clear expression of the evolution of comic book narration, showing the shift from superheroes who face supervillains to institutions and organizations fighting superheroes.
Regardless of whether we see Casey Cooke, Mrs. Price, Joseph Dunn or Dr. Ellie Stapleagain, Unbreakable, DivisionY Glbad They were his stories of origin, the birth of the Modern Age of comics from the fall of the Bronze Age. Glbad concludes with the creation of a universe, one in which the images of the climate battle between Dunn / The Overseer, Crumb / The Horde and Price / Mister Glbad are made public through the progressive thinking of Mister Glbad, and the world becomes aware of superpowers beings This video documentation is, for all intents and purposes, the first comic movie in this world, the turning point that will allow others to awaken their own hidden identities together with the spiritual purpose of their place within the scheme Greatest of things: a The history of comics that has covered the history of the world.
The Trilogy Eastrail 177 by M. Night Shyamalan is a translation of comic book mythology through the exploration of human pain, things that break and things that do not. The mythology of superheroes is the mythology of man, a story of our unique broken states that give way to unbreakable spirits. Shyamalan has created one of the great trilogies of superheroes of our times, because it is not about them, the other superhuman. It's about us Ultimately, Shyamalan is asking us not to believe in figures with layers and masks of dominoes that shoot explosions of energy from the tips of their fingers, but we create in ourselves looking inwards. Mythology and spiritual consciousness are worthless if they do not lead to change. These stories should change us, the way we see the world and the way we see ourselves, breaking what we think we know and discovering the superhuman quality that makes us unbreakable.