Sixth sense essay conclusion
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The Sixth Sense (1999)
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Sixth Sense, The (United States, 1999)
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Because we know exactly what matters most to you. Leave all papers to us and rest! As is oft the case, watching The Sixth Sense knowing that Willis is a ghost, opens the film up to a different perspective. A game of totting up all the pointers — most of which seem pretty blatant back to front — and just how skilled Shyamalan is at throwing us off the scent.
The creative team devised a set of rules in which the film would operate while sustaining the shock of the denouement. Whenever the colour red appears it is a sign of something tainted by the dead; the steaming of breath in the presence of ghosts implys a strong negative emotional undercurrent thus explaining why Willis' benign therapist doesn't elicit any ; and the fact that Crowe can only add clothes to the look he was wearing the night he was killed. Of course, this does not answer all questions: the fact that ghosts do not know they're ghosts would suggest a degree of personal confusion on their behalf — like why can I only talk to this pint-sized know all?
Why do I not sleep or eat? Willis' expert performance, every inch of him understated, is vital in concealing the truth. He is soft and humane, suggesting psychological details with small gestures and an almost whispering tone a skill only 12 Monkeys has born witness to before. How could he possibly be thought of as dead? But all the evidence is there. The film, for its first half at least, is terrifically chilling once the ghosts have proven benign much of its scariness evaporates. With Osment's ability to project childlike vulnerability without mawkishness or smarm, events play to the heart of a very basic human instinct: protecting a child.
When the ghosts appear, they whisk past the camera, the temperature drops suddenly, filigree hand-prints appear on table tops, building to full scale revelations of seemingly normal apparitions — with the exception of their fatal wounds a boy turns round to reveal that the back of his head has been blown off. Subtlety is the key throughout, not big ding-dong stingers but evocative trails and hints of the truth, most of them mapped out across Osment's tormented face.
Shyamalan's direction is the model of restraint — disquiet and stillness pervade while he expertly utilises sound to enhance the discomforting feeling of something indefinable being present allowing the audience its own "sixth sense". The background noise is a symphony of hissing breaths, the score, by James Newton Howard, splices in sonorous markers — such as just discernible evil, snarling voices — to add dramatic impact.
Visually the film is elegantly austere, The Silence Of The Lambs cinematographer Tak Fujimoto shoots in mute, autumnal browns and greys, evoking a funereal gloom cast over the European-style architecture of Philadelphia ironically, the same setting as 12 Monkeys — this city does Willis a lot of favours.