The Village
| Movie | |
|---|---|
| German title | The Village |
| Original title | The Village |
 | |
| Country of production | United States |
| original language | English |
| Publishing year | 2004 |
| length | 108 minutes |
| Age rating |
FSK 12 JMK 12 |
| Rod | |
| Director | M. Night Shyamalan |
| script | M. Night Shyamalan |
| production |
Sam Mercer , Scott Rudin , M. Night Shyamalan |
| music | James Newton Howard |
| camera | Roger Deakins |
| cut | Christopher Tellefsen |
| occupation | |
| |
The Village - Das Dorf [ ðə ˌvɪlɪd Origin ] (original title The Village ) is an American feature film from 2004 . Directed by M. Night Shyamalan , who also wrote the script and also acted as producer. The film can be the genres of drama and mystery - thriller assign. It focuses on life in the village of Covington, which is surrounded by a forest, in which evil creatures are said to live.
The film premiered on July 26, 2004 in New York before it was released in theaters on July 30 in the United States and on September 9, 2004 in Germany. The reviews were deeply divided, and there was often only agreement on the recognition of the visual style and the aversion to the surprising ending ( plot twist ). Despite this ambivalence , the film became a financial success.
action
The remote village of Covington , whose daily life and technology date from the late 19th century , is set in a thick forest inhabited by vicious creatures. The monsters, the so-called “unspeakable”, pose a deadly threat to everyone in the village community. Villagers and the unspeakable have therefore made a pact with one another that avoids confrontations as long as none of the residents enter the forest. The color red is strictly forbidden in the village because it attracts the creatures. Yellow, on the other hand, calms them down and protects the villagers.
One of the residents, Noah Percy, is mentally handicapped, which may be alleviated by medication from the distant city beyond the forest. After a child in the village dies of an illness, the shy and taciturn Lucius Hunt offers his help: He wants to take the risk of crossing the forest alone to get medicine. The council of elders, a kind of citizens' assembly, rejects the matter because the mission involves too many risks. Nevertheless, Lucius makes a half-hearted attempt to briefly cross the village boundary, but is noticed by the unspeakable. The following night the village is haunted by the monsters, who leave red signs on the doors to warn the residents.
In addition, skinned wild animal carcasses are repeatedly found within the village boundary. Another incident occurs at a wedding. This time, however, it is the residents' own cattle and poultry, which are found skinned and plucked in large numbers on the grounds of the village.
The blind Ivy Walker, daughter of the Chairman of the Council of Elders Edward Walker, had confessed her love to Lucius. The latter felt a bit overwhelmed by this situation, since Ivy's sister had also declared her love for him not so long ago. However, since Lucius also has secret feelings for Ivy, the two get closer.
Noah is also in love with Ivy. Furious with jealousy , he stabs Lucius, who survives seriously injured. Without medication from the city, his chances of survival are poor. Ivy agrees to make her way into town despite her blindness. In order to take Ivy the fear of her plan, Edward Walker finally decides to let his daughter in on the great secret that surrounds Covington: The "evil creatures" from the forest are just an invention of the council of elders, whose members alternate with Disguised costumes scare the villagers in order to protect them from going into the city and thus from the “evil outside world”.
With this knowledge, Ivy now goes into the forest, accompanied by two villagers. However, fear keeps her companion from standing by her until the end. She continues on her way alone until she is attacked by Noah Percy disguised as a creature. She can avoid him, whereupon he falls into a pit and dies of a head injury. But Ivy doesn't recognize that Noah is under the costume. At the same time, it becomes clear that Noah has been playing this game for a long time: In the so-called "quiet room" (a kind of arrest room) there was a costume of the unspeakable under the floorboards. Noah's parents find the broken floorboards, including the feathers and skins from their own chickens and goats. The same feathers are in Noah's pit.
Ivy finds the path her father described. She follows him and comes across a high wall. As she climbs over, Ivy comes to a paved road, where a ranger in an off-road vehicle with the sign "Walker Wildlife Preserve" comes towards her . Ivy can persuade the ranger to get the necessary medication.
Now it becomes clear to the viewer that the film is set in the present and not around 1897, as was suggested at the beginning. Years ago, different people got to know each other, all of whom suffered a painful loss. Close family members died from various crimes. In order to escape the modern metropolis, in which drugs and crime play a major role, the professor of American history at the University of Pennsylvania , Edward Walker, proposed a project: The establishment of a secluded village in the middle of a through the Walker Foundation created reserve . A place where they are protected from the modern world in every way.
Meanwhile, Ivy returns to the village with the medication, Lucius can presumably be saved. When it becomes known in the circle of the elders that Noah, alias "the being", was killed by Ivy, Edward Walker offers to tell the story of the fact that he was killed by an unspeakable person. That way the secret would be kept and the villagers could get on with their lives. Then one by one the council of elders stand up resolutely.
Emergence
Pre-production
After the psychological thriller The Sixth Sense (1999) and the science fiction thriller Signs (2002), M. Night Shyamalan wanted to make a love story in the form of a costume film. It was supposed to be set in 19th century America and be about innocence. He found inspiration in classic novels from the time, for example in Wuthering Heights , the film version of which has already been offered to him, but also in the King Kong films. During his historical research, he came across evidence that people at the time believed that evil creatures existed in much of the United States, and especially in forests. The filmmaker of Indian origin then built these fictional creatures into his story and came to the conclusion that it would be exciting if a community had to live with these beings. Shyamalan then wrote a first draft of the script entitled The Woods . However, since a film with the same title had already been made under the direction of Lucky McKee , Shyamalan renamed the script The Village . He then presented it to Touchstone Pictures , a subsidiary of the Walt Disney Company , which had already financed and distributed its previous films. The script was accepted.
Shyamalan and cameraman Roger Deakins created the storyboard for the script in three weeks. They worked a lot with the two most important colors in the film: the rich yellow and the aggressive red. In addition, the creatures, the “unspeakable”, had to be created: They were built roughly the size of a person and wrapped in red cloaks with branches, among other things and animal bones took on a threatening appearance.
occupation
The cast of the character of Lucius Hunt was clear for director Shyamalan from the beginning: Joaquin Phoenix was to play the role, he had written it especially for him. As a justification, Shyamalan said:
“He's a raw, unpolished nature. For him, it's not about artistry, but about spontaneous emotional states. [...] He comes to the set, plays the scene, and suddenly you feel this magic that I'm always looking for. If you want to turn the whole thing again to be on the safe side, he often no longer succeeds. All of this makes it pretty difficult to work with him, but at the same time he gives off the spark that I absolutely need for my orchestration. "
Other actors Shyamalan wanted to hire for his film were Kirsten Dunst and Ashton Kutcher . Both had to cancel due to lack of time. So he looked for more actors and eventually hired Sigourney Weaver , Cherry Jones , who had previously appeared in Signs , and Bryce Dallas Howard , the daughter of director Ron Howard , who played Ivy Walker. William Hurt was signed as chairman of the council of elders . The search for a suitable actor only dragged on for the role of the insane Noah Percy. Shyamalan suggested Adrien Brody , and when Brody was asked if he would like to play the supporting role, he accepted. In doing so, Shyamalan had signed a renowned cast: Each of the actors named had already won an Oscar or a Tony Award or was nominated for one of the two. The actors were sent to so-called Amish training camps for three weeks . There they learned important activities of the 19th century such as chopping wood or shearing sheep and, among other things, had to rehearse dances of the time. Shyamalan himself appears in what is known as a cameo , in which he plays the chief ranger who reads the newspaper when another ranger fetches drugs for Ivy.
Filming
Shyamalan asked producers Sam Mercer and Scott Rudin to find areas untouched by civilization. The producers came across a suitable area in Brandywine Country in Pennsylvania or Delaware . There the village should be rebuilt in the style of the 19th century. The construction team consisted of about 300 people who built the entire church in eleven weeks. Shooting began in October 2003. It was filmed in the established village near Chadds Ford, in Philadelphia and a few other places in Pennsylvania and Delaware.
Because of a snow storm, the crew almost had to stop work and continue filming in Virginia , but it started to rain in time. In December 2003, after three months, filming finally ended. Shyamalan received $ 7.2 million for the rights to the story, $ 300,000 for writing, and an additional $ 221,000 for directing.
Staging
Visual style
Camera and image creation
The connection to the point of view of a protagonist is missing in the film, which leads to the viewer perceiving himself as an outsider: He is given an insight into all possible entanglements in the village. For example, he is shown situations and images that none of the characters in the film can see, such as the reflection of a monster in the water at the beginning of the film. Furthermore, the created image level makes it clear that the protagonists are trapped in their own environment: “In the many shots they appear to be conditional, delivered and at the same time trapped in view of the horizontal and vertical boundaries that extend beyond the edge of the picture and cannot be assessed in terms of dimensions - be it those of the threatening edge of the forest, be it those of the protective, at the same time incapacitating house walls ”. The same thing takes place indoors. These seem to be comfortable from the inside, but are never shown completely, and if this should be the case, as in the house of the Hunt family, where you can see the ceiling, the low-hanging beams are reminiscent of crushing bars.
The zoom function is often used in movies. Roger Deakins uses a mostly very slow zoom. Instead of concentrating on the protagonists alone, he deductively zooms in several times from a close to a full camera position and thus embeds the characters in their surroundings - similar to a painting.
Deakins also works with naturally lit images. The light sources in the interior are windows or flames. Oil lamps have been used for various night shots outdoors. A lot of work was done with the prevailing autumn light, whose dullness and weakness contributed decisively to the atmosphere of the film. This effect was also supported by the fog that often existed during the shooting.
Orientation towards paintings by Andrew Wyeth
"Andrew was the main inspiration for the visual style of the film [...] The grays, the minimalism and the light - that's all of Andrew [...]"
Shyamalan was mainly inspired by the paintings of the American painter Andrew Wyeth when visualizing his script . Like Shyamalan, Wyeth comes from Pennsylvania, where he found his motifs. He often paints "barren landscapes or simple farmsteads that have made an atmospheric imagination of rurality, the Wyeth Country, a term". The same hazy, pale light prevails in Shyamalan's film as in the pictures of Wyeth. There is also a great similarity in the pale and pale faces of the people in the village compared to those in Wyeth's paintings. The film was shot in Chadds Ford, Wyeth's birthplace and place of work. Shyamalan could therefore use the same landscapes and motifs that the painter had used as models.
Wyeth pursues a certain interior design that comes very close to that of The Village : "Corners are somehow always darkened, lines unpolished, back walls push forward to create a psychological chamber play of privacy and loneliness".
Paintings that can be compared to the film are Christina's World (1948), Evening at the Kuerners (1976), but also Last Light (1977) and Braids (1979), Farm Road (1979) and Lawn Chair (1992).
Cut and sound
Shyamalan uses comparatively few cuts or long camera positions. In an interview he said:
“I don't like making films in the editing room. Large productions are mostly made there today, following the principle: first collect material and then see what you can do with it. I definitely have a choreography. That stems from the idea of not having the film made in the editing room. It's not an unintentional choreography, it's completely controlled - from start to finish. Of course, this can also lead to problems: If my approach turns out to be incorrect, we will fall on our face. Because then we no longer have the opportunity to do it differently. "
He discussed with the film editor Christopher Tellefsen that sound and nature sounds should become an important element of the film. Every nuance had to help tell the story, the core of the plot. Among other things, the roar of the wind (in the scenes in which Ivy has to cross the forest) and the creaking of the wood (for example when a couple of young people were doing a test of courage at the edge of the forest) were used. In his master's thesis on the director, Kreuzer says, “Covington is a very windy place, where the sound of creaking branches and rolling autumn leaves cannot be ignored, and nature seems to be connected to what happened when Ivy's encounter with the creature in the forest was violent Wind is accompanied by swaying trees ”. In an interview, the director says, “In most of my films, sound creates the terrifying moments. These are my special effects. "
Composer James Newton Howard suggested using a violin for the score as this would benefit the film in a number of ways and create a nervous atmosphere. As a result, the violinist Hilary Hahn was hired, who should try to adapt the playing style very much to the emotions of the protagonists. Kreuzer thinks that the solo violin "keeps the basic mood in a floating state". The sad, fragile violin sounds add a lot to the atmosphere of the film. They are often the only musical accompaniment to the pictures and convey a mystical, gloomy and sad mood that prevails in the village.
interpretation
Escape from the world and preservation of innocence
Covington residents care about preserving their innocence. Therefore they withdraw to the reserve. Models for this nature-oriented and volatile existence can be found with the American natural and transcendent philosophers Henry David Thoreau and Ralph Waldo Emerson as well as with the Amish . The village elder Walker and his people "design a monumental painting, romanticize and mystify, and construct as a self-definition a being chosen and innocent in the face of this wilderness".
So the villagers take refuge in a world of their own to escape the experience of murder and manslaughter in the modern cities. They first create a reality designed to protect their children from these crimes. Walker wants a future of loving, courageous, pure, but also “blind” children. But passing on this idyllic world of peace and redemption has its price: ignorance is to be accepted, just like death and lies, from which one actually wanted to escape. Götz states that the film "sometimes on the edge of the reactionary, not only reflects the wish for an idyllic life", "but also shows how this wish can take on destructive forms".
At the beginning of the film, animal carcasses are found in the village. It later turns out that the insane Noah Percy was responsible for the killings and "has gradually developed into an animal-like monster through [the process of] repression ." In the film he disguises himself as a malicious creature and tries to imitate the sounds it makes. Kreuzer analyzes: "His figure is to be understood allegorically: as a returned, repressed instinctuality and childlike naivete". Noah Percy, who has become a threat, has to die so that this otherwise intact place can continue: “That's the cynical thing [...] about The Village ”.
Thus Shyamalan makes clear to the viewer "on the one hand the understandable retreat into simple ideological structures, on the other hand the danger of the self-imposed restriction and self-deception that goes with it".
Nevertheless, the director advocates openness. When Ivy meets the ranger, she is surprised because she discovers that the "bad guy" is actually friendly. Because of her blindness, however, she does not notice that she is in the 21st and not in the 19th century, as suggested by the village elders. "So you don't have to be able to, want to or be allowed to see the world beyond your own reality in order to consider a life in isolation worth striving for." Christian-American fundamentalism is an ideal here, but it can only be maintained through “isolation, unworldliness and the denial of catastrophes within”. Kleingers says on Spiegel Online , “With every turn of the dramatic screw, this New Jerusalem appears less and less as a natural order; but as an enclave lost in time ”.
Political statement
Shyamalan said in an interview with the Süddeutsche Zeitung on September 9, 2004, that the film had been interpreted as a “huge political statement”.
Susan Vahabzadeh describes in her review exactly how the film was interpreted in the United States:
“ The Village was a success in the United States, but it's also been an odd honor - the story has somehow been interpreted as a key story in the Bush administration's anti-terrorism policy: Walker as a kind of village president who fears his Community shamelessly exploits. However, Shyamalan is so obviously on his side that Walker would make absurdly a very trustworthy Bush in his film. "
But she herself said that one could describe the film as "political entertainment with a wink". Shyamalan explores "the emotions that terror arouses, tells of a group of people who want to escape their fear and yet have to learn to live with it" - but he does not divide the world into good and bad, right and wrong ".
André Götz, for example, thinks that the film will become an "ambiguous political parable" in the course of the plot. It is described "how isolation from the outside and repression from within went hand in hand". The fear not only corresponds to “an actual threat”, but also ensures “the cohesion of the community”. M. Night Shyamalan, however, assured:
“It's just a story about people who have lost faith in humanity. It only becomes interesting when the heart and mind contradict each other. […] The Village […] is about recognizing what is important to us. It's about the supernatural power of love and trust and what it does. "
Publications
Movie
Buena Vista Home Entertainment released the DVD version of the film in Germany on February 17, 2005 . In addition to several language versions, it also contains a making-of, interviews and additional scenes with an introduction by M. Night Shyamalan.
Soundtrack
The soundtrack for the film was released on July 24, 2004 in the United States and on September 6 of the same year in Germany on Hollywood Records . Produced and composed by James Newton Howard, the score was interpreted by violinist Hilary Hahn . The album was at SoundtrackNet voted one of the best soundtracks of 2004. Granade says The Village is a rare score. The music is sad, surprising, delightful and balanced. And Heather Phares concludes: “'The Village' is a gloomy, often great score, the complexity of which benefits from the film's ambitions that are not clearly designed for success. It sounds in its very own way. "
reception
Reviews
| source | rating |
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| Rotten tomatoes | |
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The Village - The village received very different reviews from critics. Around 43 percent of the Rotten Tomatoes reviews rate the film positively; the Metascore at Metacritic was 44. In the United States of America, the critics were mostly disappointed because the expectations were very high. Roger Ebert , who was previously enthusiastic about Shyamalan's work, gave the film only one of four possible stars:
“ The Village is a gigantic failure, a film based on a premise that cannot support it, a premise that is so transparent that it would be ridiculous if only the film wasn't so deadly serious [...]. To call the end an anticlimax would not only be an insult to the word “climax” but also to its prefix. It's a lousy secret, just one step more original than It was all a dream . It's so mindless that as soon as we discover the secret, we want to rewind the film so that we don't know the secret anymore. "
Peter Travers from Rolling Stone magazine , however, gave the film three out of four stars and said that Shyamalan gives his film a metaphorical weight that goes deeper than mere goose bumps. The film critic James Berardinelli wrote that The Village was kept very slowly and lived more from its atmosphere than from its history. For those who liked the director's previous films, appreciated The Twilight Zone , and had no major problems with the untrustworthiness of some films, Shyamalan's work lives up to expectations.
Stephen Hunter ( Washington Post ) noted, " The Village shows two things: Shyamalan as a master of the old film school in terms of atmosphere, style and characters, and his insistence on the plot twist which is more than exhausted." is a tedious rather than a provocative task and as absurd as it is convincing, said Kevin Thomas of the Los Angeles Times .
The German critics received the love story in the guise of a horror film mostly positive. Andreas Platthaus from the FAZ was of the opinion that Shyamalan - and that was the highest thing that could be said about a director - completely trusted the power of cinema, he had made a film as if there were no other media that would talk him down and demystify him could. Wolfgang Hübner made the following claim on the Sternmagazin website : “The director [...] succeeds very well in capturing an atmosphere of fear, insecurity and uncertainty in pictures. Combined with the rural idyll, it has its own unique poetry that can be quite enchanting. With top-class actors such as Joaquin Phoenix, William Hurt, Adrien Brody and Sigourney Weaver, actors act who give their characters a profile ”.
In Die Welt , Hanns-Georg Rodek said that the expectation of a surprising ending, which is typical for Shyamalan's films, is bad for the film because it narrows the audience's perception of it. It is not this surprise that is remarkable about The Village , but the serious moral discussion about the extent to which a pacifist attitude is tenable in the face of threatening attackers. In mainstream US cinema, where pacifism has gone out of fashion since the beginning of the war on terror, Shyamalan confirms himself as an outsider, "who paints moods with a fine brush instead of slapping the canvas with the effect roller." Bryce Dallas Howard also received praise subtle performer. On the other hand, Klingmaier's opinion ( Stuttgarter Zeitung ) was that the film was much too stiff and sedate . He also wrote: “The love of the village idiot […] is presented as so naively threatening that its eruption in violence is no longer surprising. [...] The punch line from The Village , which we don't want to reveal in fairness, will soon be a trick of many viewers. It will seem so bitchy to them, so pulled by the hair, that they will look for further possibilities. But in the end Shyamalan confronts us with the long abandoned variant. However, it remains a mere assertion that it does not really match what has been seen before. ”And the lexicon of international films judged the film to be“ an exciting mixture of horror and romance film ”and formulate“ at the same time fundamental questions about human civilization ”. The central romance remains rather abstract.
Zywietz sums up the criticisms in his work on Shyamalan: He sees a frequent agreement in the recognition of the visual style, which conjures up an extremely intense atmosphere with coherent scenes and interesting character ideas, and in the rejection of the dramaturgy, which is unnecessarily broken by many surprising twists and thereby being neglected.
Plagiarism allegation
After allegations of plagiarism in the film drama The Sixth Sense , which had similarities with the novel Lost Boys by Orson Scott Card , and the thriller Signs - characters , which resembled the script Lord of the Barrens , the Village was again suspected of plagiarism. When Margaret Peterson Haddix , author of crime and science fiction novels, was made aware by her fans that Shyamalan's film contained several passages from her youth novel Running Out of Time , she threatened to go to court. Shyamalan and a spokesman for Disney rejected the allegation, pointing out the differences between the works: “'Running Out of Time' is a children's book that has sold more than half a million copies and has won awards. It's not an obscure story. "
success
The Village - The village grossed around 50 million US dollars on the opening weekend in the United States, in Germany the film attracted over 730,000 visitors to the cinema in the first week with 725 opening copies. The numbers indicated a great success. After the first week, however, the United States saw a significant drop of 66 percent. After eight weeks, the mystery thriller had grossed approximately $ 260 million worldwide, including $ 114 million in the United States. In Germany there were 1.8 million cinema-goers, bringing in around 13 million US dollars.
Measured against the film's budget, which was $ 60 million (another $ 40 million for marketing), the film was a financial success.
Awards
Shyamalan's film won three film awards and was nominated for eleven others. James Newton Howard won the ASCAP Film and Television Music Award 2005 in the "Top Box Office Films" category and received an Oscar nomination for Best Music . Bryce Dallas Howard was nominated for several awards for her performance, but could not win any. She was nominated for two Empire Awards and an MTV Movie Award . Shyamalan was also nominated for the Empire Award for Best Director .
| year | Award | category | carrier | Result |
|---|---|---|---|---|
| 2005 | MTV Movie Awards | Best main actress | Bryce Dallas Howard | Nominated |
| Academy Awards 2005 | Best film score | James Newton Howard | Nominated | |
| ASCAP Film and Television Music | Top Box Office Films | James Newton Howard | Won | |
| Teen Choice Award | Best horror scene | Bryce Dallas Howard | Nominated | |
| Best thriller | M. Night Shyamalan | Nominated | ||
| Online Film Critics Society Award | Best main actress | Bryce Dallas Howard | Nominated | |
| Evening Standard British Film Award | Best technology and artistic performance | Roger Deakins | Won | |
| Empire Award | Best director | M. Night Shyamalan | Nominated | |
| Best main actress | Bryce Dallas Howard | Nominated | ||
| Best newcomer | Bryce Dallas Howard | Nominated | ||
| Motion Picture Sound Editors | Best sound designer | Thomas S. Drescher | Nominated | |
| Fangoria Chainsaw Awards | Worst movie | M. Night Shyamalan | Won | |
| Best Actress | Bryce Dallas Howard | Nominated |
synchronization
The German dubbed version was recorded by FFS Film- & Fernseh Synchron . Dorothee Muschter was responsible for the dialogue script and direction.
| role | actor | Voice actor |
|---|---|---|
| Mrs. Clark | Cherry Jones | Helga Sasse |
| Finton Coin | Michael Pitt | Björn Schalla |
| Christoph Crane | Fran Kranz | Kim Hasper |
| Lucius Hunt | Joaquin Phoenix | Nicolas Boell |
| Alice Hunt | Sigourney Weaver | Karin Buchholz |
| August Nicholson | Brendan Gleeson | Roland Hemmo |
| Noah Percy | Adrien Brody | Sebastian Schulz |
| Robert Percy | John C. Jones | Frank Ciazynski |
| Edward Walker | William Hurt | Wolfgang Condrus |
| Ivy Walker | Bryce Dallas Howard | Manja Doering |
| Kitty Walker | Judy Greer | Tanja Geke |
| Tabitha Walker | Jayne Atkinson | Rita Engelmann |
| Beatrice | Liz Straub | Ann have a lot |
| Jamison | Jesse Eisenberg | Fabian Heinrich |
| Kevin | Charlie Hofheimer | Julien Haggége |
literature
Books
- Adrian Gmelch: Everyday life in M. Night Shyamalan's The Village , GRIN Verlag, Munich, 2015 - ISBN 978-3-668-93919-6 .
- Marco Kreuzer: The dramaturgy of the uncanny by M. Night Shyamalan , VDM Verlag Müller, 2008 - ISBN 978-3-639-05921-2 .
- Bernd Zywietz: Seeing dead people. M. Night Shyamalan and his films , Edition Screenshot Volume 1, Mainz 2008 - ISBN 978-3-00-025297-6 .
German-language review mirror
positive
- André Götz: The Village . In: epd Film 9/2004, p. 32.
- Michael Kohler: Red Alert . In: Frankfurter Rundschau of September 9, 2004, p. 31.
- Andreas Platthaus : The return of a master: M. Night Shyamalan's film "The Village" , In: Frankfurter Allgemeine Zeitung of September 8, 2004, p. 31.
- Thomas Krone: Stronghold against uncanny forces: In his film The Village, director M. Night Shyamalan once again proves himself to be a creator of atmospheric images and a great stylist . In: General-Anzeiger Bonn of September 9, 2004, p. 1 of the feuilleton section
- Christoph Pridun / Yasmin El Mohandes: A village in fear and terror . In: Wirtschaftsblatt of September 9, 2004, p. 27.
- Susanne Vahabzadeh: Red ban . In: Süddeutsche Zeitung of September 8, 2004.
Rather positive
- Hanns-Georg Rodek : Unfreedom + fear = security . In: Die Welt, September 8, 2004, p. 27.
- Martin Schwickert: Beware of red flowers. Fairytale horror, horror idyll: Night Shyamalan's thriller The Village . In: Der Tagesspiegel from September 9, 2004, p. 27.
- Lars-Olav Beier: Realm of the Dead . In: Der Spiegel, September 6, 2004, p. 142.
- Alexandra Seitz: The end of paradise . In: Die Presse of September 13, 2004
negative
- Thomas Klingenmaier: A village built out of fear. M. Night Shyamalan's The Village . In: Stuttgarter Zeitung of September 9, 2004, p. 32.
Web links
- The Village - The Village in the Internet Movie Database (English)
- The Village - The Village at Rotten Tomatoes (English)
- The Village - Das Dorf in the online movie database
Individual evidence
- ^ Certificate of Release for The Village . Voluntary self-regulation of the film industry , August 2004 (PDF; test number: 99 250 K).
- ↑ Age rating for The Village . Youth Media Commission .
- ↑ a b Zywietz: Dead people see . P. 98.
- ↑ Zywietz: Dead People See . P. 96; King Kong served as inspiration because a group of people have to get along with a creature that threatens them on a daily basis .
- ↑ a b DVD: The Village , making-of
- ↑ New project from the master of the supernatural The Woods?
- ↑ a b Trivia. In: Internet Movie Database . Retrieved May 14, 2013 .
- ^ A b Johannes Bonke / Rico Pfirstinger: The Village: M. Night Shyamalan about playing with fear. (No longer available online.) In: spielfilm.de. Archived from the original on December 31, 2008 ; Retrieved November 27, 2012 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Gary Susman: Just Buried. In: Entertainment Weekly and Time Inc. Retrieved December 20, 2008 .
- ↑ DVD: The Village , Making-of (Die Castings)
- ↑ Elisabeth Sereda & Rico Pfirstinger: Adrien Brody about the fight with his inner lout. In: spielfilm.de. Retrieved November 20, 2012 .
- ↑ DVD : The Village , Making-Of (selection of the film location)
- ↑ Major Movie Wraps at Chadd's Ford Location. In: The Brandywine. Retrieved December 9, 2012 .
- ↑ DVD: The Village , Making-Of (shooting)
- ^ Business and Filming Dates. In: Internet Movie Database. Retrieved November 20, 2012 .
- ↑ Trivia. In: Internet Movie Database. Retrieved December 8, 2012 .
- ↑ a b c Zywietz: Seeing dead people . P. 104.
- ↑ Zywietz: Seeing dead people . P. 106.
- ↑ Zywietz: Seeing dead people . P. 107.
- ↑ FAQ for The Village. In: Internet Movie Database. Retrieved on December 21, 2012 (English): "Andrew was the main inspiration for the look of the movie [...] The grays, and the minimalism, and the light - that's all from Andrew [...]"
- ↑ Zywietz: Seeing dead people . P. 109.
- ↑ Zywietz: Seeing dead people . P. 110.
- ↑ Shyamalan takes you into the master world of India. In: The world . Retrieved December 21, 2012 .
- ^ Wanda M. Corner: The Art of Andrew Wyeth . In: The Art of Andrew Wyeth (with Contributions by Brian O'Doherty, Richard Meryman, EP Richardson). Published for The Fine Arts Museum of San Francisco by the New York Graphic Society. Boston: Little Brown and Company, 1973, p. 112. Quote: "Somehow corners are always obscured, lines are blunted, back walls float forward to create what is [...] a psychological chamber of privacy and lonliness"
- ↑ M. Night Shyamalan does not think of horror effects. In: rp-online.de. Retrieved November 20, 2012 .
- ^ A b Marco Kreuzer: The dramaturgy of the uncanny by M. Night Shyamalan , ISBN 978-3-639-05921-2 , p. 70.
- ↑ DVD: The Village (Interview with M. Night Shyamalan)
- ↑ Zywietz: Seeing dead people . P. 101.
- ↑ Zywietz: Seeing dead people . P. 108.
- ↑ a b Götz, André: The Village. The strange in the woods: The new film by M. Night Shyamalan. In: epd Film 9/2004, p. 32.
- ↑ a b Kreuzer: "Dramaturgy des Unheimlichen" , p. 42.
- ↑ Zywietz: Seeing dead people . P. 114.
- ↑ a b c Kreuzer: "Dramaturgy des Unheimlichen" , p. 43.
- ↑ David Kleingers: Village People on the Way to Hell. In: Spiegel Online (September 7, 2004). Retrieved November 20, 2012 .
- ↑ Interview with Shyamalan in the SZ
- ↑ a b Review by Susan Vahabzadeh in the Süddeutsche Zeitung
- ↑ Best of 2004. In: SoundtrackNet. Retrieved November 27, 2012 .
- ↑ Andrew Granade: The Village. In: SoundtrackNet. Retrieved November 27, 2012 .
- ↑ Heather Phares: The Village. In: Allmusic. Retrieved December 22, 2012 .
- ↑ a b c The Village (2004). (No longer available online.) In: Rotten Tomatoes . Archived from the original on January 22, 2009 ; accessed on March 15, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ a b c The Village at Metacritic , accessed March 15, 2015
- ^ The Village. In: Internet Movie Database . Retrieved July 6, 2013 .
- ^ Roger Ebert: The Village. In: rogerebert.com. Retrieved on November 27, 2012 (English): " The Village is a colossal miscalculation, a movie based on a premise that cannot support it, a premise so transparent it would be laughable were the movie not so deadly solemn [...] To call the ending an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It was all a dream . It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore. "
- ^ Peter Travers: The Village. In: Rolling Stone. Retrieved December 8, 2012 : "Shyamalan gives the film a metaphorical weight that goes deeper than goose bumps."
- ↑ James Berardinelli: The Village. In: reelviews.com. Retrieved December 8, 2012 .
- ↑ Stephen Hunter: The Village. In: Washington Post. Retrieved December 8, 2012 .
- ↑ Kevin Thomas: The Village. In: Los Angeles Times. Retrieved December 8, 2012 . quoted in Top critics for The Village
- ^ Platthaus, Andreas: The return of a master: M. Night Shyamalan's film "The Village". In: Frankfurter Allgemeine Zeitung September 8, 2004, p. 31.
- ^ Wolfgang Huebner: Poetry and horror in the monster forest. In: Stern. Retrieved December 8, 2012 .
- ^ Unfreedom + fear = security Critique by Hanns-Georg Rodek in Die Welt, September 8, 2004, p. 27.
- ↑ Klingemaier, Thomas: A village built out of fear. M. Night Shyamalan's "The Village". In: Stuttgarter Zeitung September 9, 2004, p. 32.
- ↑ The Village. In: Lexicon of International Films . Film service , accessed March 2, 2017 .
- ^ Infringement, Watts, Plum, Ringworld, and Even More Books. In: Uncle Orson Reviews Everything. Retrieved December 22, 2012 .
- ↑ a b M. Night Shyamalan under suspicion. In: kino.de. Retrieved November 27, 2012 .
- ↑ Disney and Shyamalan Face Plagiarism Lawsuit. (No longer available online.) In: Internet Movie Database. Archived from the original on December 31, 2008 ; accessed on December 12, 2012 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ The Village by country. In: Box Office Mojo. Retrieved December 8, 2012 .
- ↑ Summer 2004 - $ 50M Weekend Openers. In: Box Office Mojo. Retrieved December 12, 2012 .
- ↑ Box Office: Evil does well in the cinema. In: Spiegel Online. Retrieved October 8, 2013 .
- ^ The Village - Weekly. In: Box Office Mojo. Retrieved November 20, 2012 .
- ↑ a b The Village. In: Box Office Mojo. Retrieved November 20, 2012 .
- ↑ List of box office results for 2004. In: Box Office Mojo. Retrieved November 27, 2012 .
- ^ Awards for The Village. In: Internet Movie Database . Retrieved November 22, 2012 .
- ^ Empire Awards, UK (2005). In: Internet Movie Database . Retrieved November 27, 2012 .
- ↑ a b The Village - The village in the German synchronous index
