2006 Directed by M. Night Shyamalan
Apartment building superintendent Cleveland Heep rescues what he thinks is a young woman from the pool he maintains. When he discovers that she is actually a character from a bedtime story who is trying to make the journey back to her home, he works with his tenants to protect his new friend from the creatures that are determined to keep her in our world.
Paul Giamatti Bryce Dallas Howard Bob Balaban Jeffrey Wright Sarita Choudhury Freddy Rodríguez Bill Irwin Jared Harris Cindy Cheung M. Night Shyamalan Mary Beth Hurt Noah Gray-Cabey Joseph D. Reitman Grant Monohon John Boyd Ethan Cohn June Kyoto Lu Tovah Feldshuh Tom Mardirosian David Ogden Stiers Maricruz Hernandez Carla Jimenez Natasha Perez Monique Gabriela Curnen Marilyn Torres George Bass Joel Garland James Breen Nell Johnson Show All…
Steve Boeddeker Lee Dichter Frank E. Eulner Marshall Winn Michael Semanick Scott Guitteau Michael Scott
En Godnattsaga Av M. Night Shyamalan, Senhora da Água
This corpse has been picked over plenty, and while I'll stipulate that it's a bit undercooked and pretty silly, on a rewatch I think it's one of those things you just have to deliberately slide into, which makes sense given that it's all of a piece with SIGNS and THE VILLAGE in its depiction of an insular community or group united by belief. You can choose to read Bob Balaban's character as a snipe at all critics, or you can take it as a representation of blanket, unfeeling skepticism. Up to you. Anyway, Shyamalan may exhibit all manner of ill-advised creative hubris but that doesn't mask his exceptional capabilities as a visual filmmaker. It's hard to make an ugly movie…
"He's hearing the voice of God through a crossword puzzle."
Acho que só o Apichatpong acredita tanto no poder sugestivo da história oral como o Shyamalan. E é uma crença no sentido de uma fé mística mesmo, fé em uma mitologia fantasiosa que foi perdida, uma mitologia essencialmente narrativa que parte da infantilização de alguns elementos justamente para revelar uma essência primária e poderosa das coisas.
O melhor de tudo é que o Shy faz isso com um humor tão espirituoso quanto excêntrico. Toda a deslocalização cotidiana desse filme parte de uma ridicularização meio frontal das coisas, mas é justamente a fé nesses elementos ridículos que os torna grandiosos. Fora todo um senso de união que o ambiente coletivo gera,…
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M. Night Shyamalan's penchant for isolated communities, totems of loss and tragedy, and eccentric, fantastical concepts is given its most inwardly emotional landscape in Lady in the Water. An apartment complex, 'The Cove', is situated as a battleground for Shyamalan's anger - towards the Iraq war, his bruised ego, and his critics - while manifesting as a convoluted, at times cloyingly sincere bedtime story. But there's real pain buried deep down. And Shyamalan, teaming up with famed DP Christopher Doyle, works with his collaborators to bring it all to the surface. It's such a fragile movie. Watching Lady in the Water, it seems to fall apart, again and again, while Shyamalan picks up the scattered pieces and gently glues…
The ramblings of a lunatic, though beautifully shot.
The only proper response to seeing this film is a quiet, surprised "Oh."
É tão difícil defender o que você ama incondicionalmente. Você percebe todos os problemas que os outros apontam, mas as qualidades, elas te parecem tão superiores que você os minimiza ou os ignora. Seu eleito é imperfeito, mas é seu. Você o escolheu assim que colocou os olhos nele e é natural que queira defendê-lo, afirmá-lo e celebrá-lo. O cinema é meu refúgio e quando eu separo um filme para ser meu, eu posso soar até arrogante ao expressar minhas razões para amá-lo, coisa que eu sempre faço por escrito porque sou um péssimo orador.
Com A Dama na Água foi exatamente assim. Assisti ao filme numa pré-estréia para uma platéia de convidados que gostam de pré-estréias, mas nem sempre…
I often talk about how much I want an adaptation of Stephen King's Lisey's Story but Lady In The Water is pretty much the... exact vibe for me. Super important that almost every shot before the Lady is introduced is obstructed - there is something missing from the lives of everybody in this, the decreasing length of Shyamalan's shots slowly finding the core of what makes these people tick - but this isn't a film about people; it's about conflict (involving people). If the Water is purity/the capacity to imagine & believe/where all myth comes from then the Land - the location of our narrative - is a blight on the freedom of half-lit 'truer' perception. Just look at how this…
The first film made after Shyamalan was really, truly widely rejected, with one clear focus: a world of characters who cannot accept pure storytelling. His pain is at the center of this solar system.
Film #4 of Gustav's M.National Shyamalan-a-thon
I thought about it, but honestly could not arrive at an answer. I do not know what was going through M.Night’s mind when he came up with this idea. Even more baffling is what gave him the impression that this would work and be accepted. The concept is total bollocks. The juxtaposition of fairy tale elements along with reality simply does not work here, as all the characters are mere devices, cardboard-like, uninteresting, ill-conceived, and dreadfully executed. They come off looking utterly dim-witted as they are shown to comfortably believe in such fatuous happenings.
Part of my frustration stems from the fact that the film did not even deliver on the promise of an…
self-evidently one of m. night's weakest, but if film critics weren't such whiny clueless babies they would have treated it as the unfortunate misfire it is rather than the colossal disaster it isn't. frankly i think he treats the profession too kindly here. having a bewildered character say "how could anyone be so arrogant as to assume they know another person's intentions?" is on the nose, sure, but it's an understandable reaction from an artist who felt he was being treated unfairly for reaching out of a box he never wanted to be put inside. besides, the critics who turned on him for shifting away from his earliest films' soft-prestige sensibilities were snider and stupider than any caricature could possibly…
"Why does everyone in movies like to stand around talking in the rain?"
"Maybe it's a metaphor for purification, or starting anew.
"No, it's not."
probably shyamalan's strangest, least of all becauase he's in it, but also his most obviously spiritual: a story about a woman named story but also about the ways in which a multitude of ordinary people all tell stories. tho there's a lot of very obvious meta-textual play lying on the surface (courtesy of bob balaban's built-in critic, who provides clear evidence that shyamalan's a much more conscious and self-aware filmmaker than most people give him credit for being). it's probably shyamalan's most knotty and complicated work, which is why it doesn't hit me quite as…
Action!: The Campy, The Violent and The Plot Twist — Its a Plot Twist! The Shyamalan Chronicles
For many, Shyamalan's worst movie is nothing more than a Rorschach test. The film is a film that people who see it claim to be one thing and others claim to be something else. There is no clear message, but it is clear the author is trying to convey a message... I guess. The only thing we know for certain is that this is supposedly based on a children's story Shyamalan told his kids, and that it is a bland and boring movie.
No, there will be no in-depth discussion of this movie. No talks of layers. No mention of Shyamalan's brilliance. This…
