M. Night Shyamalan's Career Rebirth: The Impact of 'The Visit'

A decade ago, M. Night Shyamalan orchestrated a remarkable resurgence in his cinematic career, notably with the found-footage thriller 'The Visit.' This film, initially viewed as a tactical retreat from a series of high-profile disappointments, unexpectedly revitalized his unique directorial vision. It marked a pivotal moment, re-engaging audiences and critics who had grown skeptical after a string of films that failed to capture the widespread acclaim of his earlier successes like 'The Sixth Sense.' Through 'The Visit,' Shyamalan not only reaffirmed his distinctive storytelling approach but also charted a new course for his future projects, characterized by a renewed sense of creative control and a deeper connection with his artistic sensibilities.

Before 'The Visit,' Shyamalan navigated a period marked by significant critical and commercial challenges. Following the mixed reception of 'The Village' in 2004, which saw a considerable box office drop after its initial weekend, his subsequent works struggled to resonate. 'Lady in the Water' faced widespread criticism, while 'The Happening' garnered infamy for its unusual premise involving sentient plants. His adaptation of 'Avatar: The Last Airbender' was largely panned by fans and critics alike, and 'After Earth' signaled a downturn for its star, Will Smith. Despite some of these films achieving financial success, particularly 'The Happening' and 'The Last Airbender' globally, their public reception often amplified the perception of his struggles, making his failures conspicuously public.

'The Visit,' released at a time when the found-footage genre was experiencing a decline in public interest, seemed like an unconventional choice for Shyamalan, whose cinematic signature is often defined by meticulous visual composition and deliberate pacing. This apparent mismatch initially led to speculation that the film might be a surrender to commercial pressures or a reflection of waning creative energy. However, in hindsight, the film's premise perfectly aligned with Shyamalan's thematic interests, especially his recurring focus on children and family dynamics. This project also coincided with Shyamalan's decision to self-finance his films, effectively shielding him from external creative interference and allowing for greater artistic freedom.

The narrative of 'The Visit' centers on teenage Becca and her younger brother Tyler, who embark on a week-long stay with their estranged grandparents, Nana and Pop Pop. Becca, an aspiring filmmaker, intends to document their reconciliation, as the elderly couple had been alienated from their daughter, Loretta. However, the children soon encounter increasingly bizarre and menacing behaviors from their grandparents, particularly after nightfall. While Nana and Pop Pop attribute their eccentricities to the natural process of aging, Becca and Tyler grow increasingly convinced that a more sinister explanation lies beneath the surface.

Becca's passion for filmmaking within the story is a clever narrative device employed by Shyamalan. It subtly comments on the raw, often unpolished aesthetic typical of found-footage films, while simultaneously enabling Shyamalan to experiment with cinematic techniques that diverge from his usual polished style. The collaboration with veteran cinematographer Maryse Alberti, known for her work with acclaimed directors, is a key indicator that 'The Visit' was not merely a foray into casual shaky-cam. Together, they crafted visually striking moments, such as the distorted view of the grandparents through a glass prism, and strategically positioned the camera to enhance suspense, inviting the audience to imagine what lies beyond the frame—a technique that speaks to the effectiveness of horror storytelling.

Through 'The Visit,' Shyamalan also subtly references 'The Blair Witch Project,' a film that shared multiplexes with his own 'The Sixth Sense' in 1999. 'The Blair Witch Project' had achieved unexpected success by pioneering a creepy, verisimilar style of horror, which initially baffled some audiences. 'The Sixth Sense,' with its more conventional approach, later overshadowed it in popular imagination and at the box office. 'The Visit' echoes 'Blair Witch' with its blend of static shots and chaotic handheld footage during its climax, showcasing Shyamalan's unique interpretation of the found-footage format. The film deftly navigates between Shyamalan's signature formal discipline and a more playful, sometimes rough-around-the-edges storytelling, effectively combining his distinct authorial voice with audience expectations.

The film further cemented Shyamalan's propensity for creating self-contained, often domestically focused genre narratives that resonate with the simple, yet effective, storytelling of shows like 'The Twilight Zone.' While 'The Visit' might feel somewhat extended despite its concise 94-minute runtime, it's propelled by Shyamalan's characteristic humor, evident in Becca's earnest formality and Tyler's audacious freestyle rapping. This humor retroactively confirms that many of his earlier works also intentionally incorporated a 'Dad Humor' sensibility, coupled with a genuine understanding of the peculiarities of childhood. Though not his most profound exploration of familial love, 'The Visit' compels its audience to consider the unseen emotional connections and potential ruptures within families, aligning thematically with his later, more impactful works such as 'Old' and 'Trap.'

Ultimately, 'The Visit' served as a shrewd recalibration of expectations for Shyamalan's career, allowing him to subtly subvert some elements of his established style while reinforcing others, like his comedic timing. After years of having his narrative twists mislabeled, this film delivered a genuine, impactful revelation, a testament to his storytelling prowess. The more profound outcome, however, was Shyamalan's renewed commitment to crafting unsettling, intimate chamber pieces, setting the stage for another decade of compelling and distinctive cinematic contributions.