It all begins with the cry of a child who lures widowed family man Graham Hess (Mel Gibson) straight into the heart of his giant cornfields. His son Morgan (Rory Culkin) draws his attention to a vast field of neatly snapped corn stalks. The surgical precision is simply too groundbreaking for a human trick. But could the crop circles that make mysterious signs from a bird’s eye view really be the work of aliens?
This opening, which lasts just over ten minutes, immerses the audience immensely in the story of “Signs”. Not only because we are dealing here with a sci-fi film that plays with what crop circles are really about, but also because M. Night Shymalan once again demonstrates his careful sense of interpersonal relationships and expresses family dynamics. In any case, Shyamalan has rarely so skillfully and accurately followed in Steven Spielberg’s footsteps (“Close Encounters of the Third Kind”).
Haven’t seen “Signs” yet, but want to close this gap now? Then you come with a subscription Disney+ at your expense, where the movie is available for free. And if you immediately have an M. Night Shyamalan evening in mind: in the catalog of the Maushaus streaming service you will also find “The Sixth Sense”, “Unbreakable – Unzerbruchlich”, “The Village – Das Dorf” and “Glass” .
That’s what “Signs” is all about
After the tragic death of his wife, Graham Hess (Mel Gibson) lost faith in God and resigned his priesthood. Together with his children (Rory Culkin & Abigail Breslin) and his brother Merrill (Joaquin Phoenix) he lives on a farm with many fields. One day crop circles are found in one of the fields – and the mysterious things pile up:
The dogs behave strangely and attack the children without warning. In addition, very athletic invaders seem to roam the farm after dark, who can easily climb onto the roof of the estate. It soon turns out that crop circles have appeared all over the planet. Graham and Merrill don’t want to believe it, but the signs that an alien invasion is imminent are piling up…
More than just sci-fi cinema
When an old-fashioned score swells in the first minutes, in which the violins indicate imminent danger, the whole initially seems like something from a science fiction film from the sixties. The closing credits musical accompaniment should be taken as a tribute and has little to do with James Newton Howard’s actual score – mainly because it is only used in a very reduced manner.
Also, “Signs” does not want to function as a speculative genre box. Of course, M. Night Shyamalan is constantly working with the classic threat that humans are – possibly – about to be attacked by aliens. In fact, the director is not interested in exploiting the tension with grand effects. Rather, the main focus is on the family situation, which was shattered by the death of the mother. The cracks of alienation beneath the surface are often referred to only vaguely.
The fact that M. Night Shyamalan is repeatedly compared to Steven Spielberg has to do not only with the mechanisms of the creeping, ever-increasing tension build-up, but also with the handling of the image of the US nuclear family. Of course, this faces the difficult task of growing together again. And for that to happen, they must overcome a hurdle that seems unimaginable.
Great, but with problems at the end
Shyamalan not only stages “Signs” in a reserved way and always brings the necessary “shock” moments at the right time to play with the expectations of the viewers. He also attaches the utmost importance to sensitivity in order to make the characters and their personal traumas tangible. This warning also leads to Mel Gibson probably giving the best performance of his career. Where he otherwise often came only through charisma and presence, in “Signs” he proves his acting class and unleashes a hugely impressive intensity through his gentle acting.
What might make you a bit sour is the finale. This is where a problem comes in that many M. Night Shyamalan movies fall victim to: The resolution is not only very short-sighted, but also rather stupid. In addition, there is also a penetrating religious superstructure, which then leaves a taste. But apart from the last 10 minutes, “Signs” is an excellent, pleasantly old-fashioned sci-fi drama that not only captivates but also moves.