bnorthup
08-06-2002, 05:12 PM
Signs (PG-13)
At the Circus
Four stars
Of outer space and inner peace
By Brent Northup
During war, “foxhole conversions” are common. Faithless soldiers, faced with death, often reach out to God in hopes of returning home to their loved ones.
It’s no accident that matters of the spirit become urgent during a crisis. We live most of our lives in the happy illusion of immortality only to find, sooner or later, that our personal book does, indeed, have a final chapter.
Although “Signs” markets itself as a science fiction film about crop circles (with an implied threat of an “alien invasion”) the film is as much a tale of spiritual rebirth as one of a malevolent return visit from E.T.
At the center of the tale is “Father” Graham Hess (Mel Gibson), a widower and former Episcopalian priest who lives on his farm with his brother and his two children. Hess is awakened one night by strange noises. Upon investigation, he thinks he sees strangers running through his cornfield. He discovers crop circles amidst his fields.
Although Hess and his family attempt to dismiss all these “signs” as somehow harmless, they grow increasingly terrified of what might be happening on their land. Soon international news reports on the television confirm the family’s worst fears: unfriendly aliens may be arriving – and the Hess farm may be one of the landing sites.
Science fiction, right? Not so fast, Sherlock.
Director M. Night Shyamalan, who brought us the haunting “Sixth Sense”, has much more in mind than aliens here.
The underlying tale unfolds in small moments, and in flashbacks. First, Hess chastises a young girl for calling him “Father.” “I’m not a father anymore,” he says. Soon we learn why he left the church. Then we learn that Hess’ wife died in a senseless accident. Finally, we learn Hess holds God responsible for his wife’s death.
In some openly philosophical scenes, Hess huddles with his family, fearing death. He talks openly of two ways of viewing the world. Either everything is part of a loving master plan or all events are ruthlessly random. The first view gives comfort, but may be a large lie, he suggests.
Hess is struggling with one of theology’s oldest questions: Why would a loving God allow evil and tragedy?
“Signs” slowly and subtly provides Hess with an answer to his questions. The crop circle/alien crisis provides the impetus for deep spiritual reflection. Hess is in a foxhole, and suddenly matters of the spirit are of utmost, urgent importance.
The final scene is not one of aliens and monsters. It’s a quiet scene where Hess’s inner struggle culminates.
How that transformation occurs is the real subject of “Signs.” That inner drama lifts the film above most shallow Hollywood science fiction tales into the mystical/spiritual world of deeper stories.
Hard-core fans of “Aliens” and “E.T” are apt to be disappointed by “Signs.” On the other hand, viewers who are captivated by books like “Razor’s Edge,” Somerset Maugham’s tale of spiritual awakening, are apt to be intrigued, perhaps even captivated. Granted, there is less depth here than Maugham could provide, but this tale of spiritual transformation is provocative and timely, nonetheless.
END
At the Circus
Four stars
Of outer space and inner peace
By Brent Northup
During war, “foxhole conversions” are common. Faithless soldiers, faced with death, often reach out to God in hopes of returning home to their loved ones.
It’s no accident that matters of the spirit become urgent during a crisis. We live most of our lives in the happy illusion of immortality only to find, sooner or later, that our personal book does, indeed, have a final chapter.
Although “Signs” markets itself as a science fiction film about crop circles (with an implied threat of an “alien invasion”) the film is as much a tale of spiritual rebirth as one of a malevolent return visit from E.T.
At the center of the tale is “Father” Graham Hess (Mel Gibson), a widower and former Episcopalian priest who lives on his farm with his brother and his two children. Hess is awakened one night by strange noises. Upon investigation, he thinks he sees strangers running through his cornfield. He discovers crop circles amidst his fields.
Although Hess and his family attempt to dismiss all these “signs” as somehow harmless, they grow increasingly terrified of what might be happening on their land. Soon international news reports on the television confirm the family’s worst fears: unfriendly aliens may be arriving – and the Hess farm may be one of the landing sites.
Science fiction, right? Not so fast, Sherlock.
Director M. Night Shyamalan, who brought us the haunting “Sixth Sense”, has much more in mind than aliens here.
The underlying tale unfolds in small moments, and in flashbacks. First, Hess chastises a young girl for calling him “Father.” “I’m not a father anymore,” he says. Soon we learn why he left the church. Then we learn that Hess’ wife died in a senseless accident. Finally, we learn Hess holds God responsible for his wife’s death.
In some openly philosophical scenes, Hess huddles with his family, fearing death. He talks openly of two ways of viewing the world. Either everything is part of a loving master plan or all events are ruthlessly random. The first view gives comfort, but may be a large lie, he suggests.
Hess is struggling with one of theology’s oldest questions: Why would a loving God allow evil and tragedy?
“Signs” slowly and subtly provides Hess with an answer to his questions. The crop circle/alien crisis provides the impetus for deep spiritual reflection. Hess is in a foxhole, and suddenly matters of the spirit are of utmost, urgent importance.
The final scene is not one of aliens and monsters. It’s a quiet scene where Hess’s inner struggle culminates.
How that transformation occurs is the real subject of “Signs.” That inner drama lifts the film above most shallow Hollywood science fiction tales into the mystical/spiritual world of deeper stories.
Hard-core fans of “Aliens” and “E.T” are apt to be disappointed by “Signs.” On the other hand, viewers who are captivated by books like “Razor’s Edge,” Somerset Maugham’s tale of spiritual awakening, are apt to be intrigued, perhaps even captivated. Granted, there is less depth here than Maugham could provide, but this tale of spiritual transformation is provocative and timely, nonetheless.
END