Unbreakable - Unbreakable
| Movie | |
|---|---|
| German title | Unbreakable - Unbreakable |
| Original title | Unbreakable |
| Country of production | United States |
| original language | English |
| Publishing year | 2000 |
| length | 106 minutes |
| Age rating |
FSK 16 JMK 14 |
| Rod | |
| Director | M. Night Shyamalan |
| script | M. Night Shyamalan |
| production |
Barry Mendel , Sam Mercer , M. Night Shyamalan |
| music | James Newton Howard |
| camera | Eduardo Serra |
| cut | Dylan Tichenor |
| occupation | |
| |
| chronology | |
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Successor → |
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Unbreakable - Unzerbrechlich (original title Unbreakable ) is an American feature film from the year 2000. Directed by M. Night Shyamalan , who also wrote the script. The film can be assigned to the genres of comic film , melodrama and thriller . It tells the story of David Dunn, the only survivor of a train crash. He meets the comic book collector Elijah Price. The encounter leads to David gradually becoming aware of his supernatural powers.
The world premiere took place on November 14, 2000 in the United States. In Germany it opened in cinemas on December 28, 2000. The reviews ranged from average to positive and the film became a financial success with global box office revenues of around $ 250 million. Today the film has achieved cult status .
In 2017 Shyamalan's film Split , which takes place in the same universe as Unbreakable and in which Bruce Willis has a cameo as David Dunn, was released. On January 17, 2019, the sequel Glass was released in Germany and one day later in the USA, in which the two films are continued. The resulting trilogy thus falls into a coherent film universe, which was titled by M. Night Shyamalan as "Eastrail 177 Universe" (after the train accident occurring in this film at the beginning of the film). Another sequel was ruled out by M. Night Shyamalan.
action
Elijah Price has suffered from the glass bone disease, osteogenesis imperfecta , since he was born . He tries - encouraged and challenged by his mother - to lead as normal a life as possible despite his illness. Various hospital stays show that this is hardly possible. In a flashback, Elijah refuses to leave her parents' apartment and go to the nearby playground. His mother lures him with a present that she left for him on a bench in the playground. He can keep the gift if he gets it from the playground himself. Elijah gets his first comic as a gift. From then on, the boy developed an interest in this genre and not only became a passionate collector of comics, but later also specialized as an art dealer with his own gallery in original drawings of comics.
David Dunn works for security at a football stadium and is on the train on his way back from an interview. Shortly before arrival, the train derails - the journey ends in a disaster. All other 131 passengers on the train are killed; David survives unharmed. A little later he finds the map of Elijah Price's art gallery under his windshield wiper. On top of it is the question of how often he was sick in his life. After realizing that he had never been sick, he visits the gallery with his son Joseph. Elijah reveals to him that nature created people who were physically under-developed. That's why Elijah believes that there must be people with above-average physical abilities - similar to the superheroes in his comics. Because David survived a disaster unscathed so unexpectedly, Elijah is convinced that David is a real superhero. Elijah presses David with questions such as: B. whether he has ever been sick. David reacts brusquely, hoping for an answer to his morning sadness, and the Dunns leave the gallery.
Although David has denied the possibility of being a superhero to Elijah, he begins to consider that there might be some truth in Elijah's theory after all. He remembers a serious car accident, which he also survived unharmed. But his son Joseph is quickly convinced that his father is a superhero. When doing dumbbell training, this David goes to hand and puts the weights on him. After a few repetitions, David noticed that it was too much weight and asked Joseph to take weights off. However, this one puts on more. When David notices it, he is amazed at his unimagined physical strength and asks Joseph to look for even more weights that he can also lift. Despite all this, David is not convinced. To convince his dubious father that he is a superhero with supernatural powers, he steals the pistol from David and tries to shoot him. However, David can dissuade him from this attempt.
Angry u. a. about the effects Elijah's wishful thinking has on his son, David seeks out Price and tells him that he is not the person Elijah is looking for, as he remembers an illness he had after a swimming accident. Disillusioned, Elijah sits on it in a comic bookstore where he comes across a comic that eliminates his doubts. Both David and himself have a weak spot with water. He calls David to tell him about the new discovery. Shortly afterwards David enters the hall where the rubble from the train involved in the accident is being kept and also inspects the place where he was sitting. He looks for Price again and the latter sends him to a public place with many people of his choice, whereupon David goes to a subway station.
In addition to extraordinary powers, David discovers his ability to see people's bad deeds when he touches them. He walks through the city at night to test his “superpowers” and actually discovers a crime that he can partially prevent.
He follows a cleaner at the subway station to the house that lives there. The man in the orange jumpsuit killed a family man for this and is holding his children and wife prisoner. David gains entry to the house and finds his father's corpse on the cellar stairs as he saw it in his vision. He frees the children while he continues to look for the husband. Before he can find him himself, the man in the overalls surprises him from behind and pushes him over the balcony railing into the covered swimming pool. David threatens to drown through the tarpaulin, but is saved by the freed children. Then he enters the house again and manages to kill the murderer, but can no longer save the mother.
Elijah and David have grown closer in the course of David's development, which is why the gallery owner invites David to a vernissage. In the gallery, the two retire to Elijah's office for a chat. When David shakes hands with Elijah, he “sees” that it was Elijah who was responsible for the train accident and other disasters before that. David confronts Elijah, and the gallery owner confesses that he wanted to use these misfortunes to create situations that would make a superhero recognizable. All these sacrifices were necessary, and now that he had recognized David, he had also recognized himself. He accepts that he is the "bad guy" and explains that you can always recognize the bad guy by the fact that he is the exact opposite of the hero. David leaves Elijah. In the credits one learns that Elijah is arrested and admitted to a psychiatric clinic.
Emergence
M. Night Shyamalan developed the idea for Unbreakable while filming The Sixth Sense . The basic idea is for a person to notice that they are a superhero. Shyamalan wrote six pages a day and divided the script into three acts. In the first act the person realizes his power, in the second he fights against good and evil and in the third only against evil. In retrospect, Shyamalan distanced himself from this version because he did not consider the second and third acts to be appropriate. So Shyamalan revised the script until it was what he wanted. After its completion, he presented it to the Disney Studios ( The Walt Disney Company ), which had already financed or loaned his previous film. Disney bought the script for $ 5 million and offered Shyamalan an additional $ 5 million to direct. This agreed.
Shyamalan then presented the script to actor Bruce Willis and offered him the role of David Dunn . The director had already spoken to the actor about his new ideas while filming The Sixth Sense . Willis found the script convincing and accepted. The director originally wanted to cast Julianne Moore for the role of Audrey Dunn . However, Moore decided on the role she was offered in the film Hannibal . Ultimately, Robin Wright Penn was hired as David's wife .
The Indian-born filmmaker wanted to create a world that should be very real, "as if the story could take place around the corner". Filming finally began on April 25, 2000 with a budget of $ 75 million and ended in June 2000. The film was shot in Philadelphia , Pennsylvania , among others .
genre
Just as Shyamalan's Signs can not be assigned to science fiction films alone, Unbreakable - Unbreakable cannot be referred to as a comic film. The film "submits (although) to the narrative framework conditions of naive good-bad subjects" and takes on visual influences from the comic world (David's safety cloak as a hero costume, the orange clothes of the psychopath as the symbolic suit of the villain, etc.), but the film also shows significant deviations from this genre. Shyamalan draws the world of David and Elijah very realistically, without mutants or flying supermen. The film also avoids the quick cuts, special effects or masks that are common in the comic and action film genre. In addition, the action scenes are staged extremely slowly (almost unspectacularly): When David fights with the psychopath and overwhelms him, "he doesn't do it in the heroic and masculine manner, directly, with fists and distance, even with cool sayings and acrobatic stunts". Instead, he sneaks up on the "bad guy" from behind and chokes him. Unbreakable thus distances itself from films like Superman , Batman or X-Men . Due to Shyamalan's "iconic game with the revelation of a transcendent value structure within mundane everyday situations", Westerboer sees the film as "melodramatic gesture (s)" while Marco Kreuzer describes the film as a mystery thriller because of its sometimes eerie and threatening atmosphere.
Themes and motifs
Family crisis and search for identity
Unbreakable - Unbreakable tells the story of a marriage crisis. This can be recognized, for example, by the fact that David removes his wedding ring when a still very young woman sits down next to him on the train, or after returning to his family, where “an image of distance and lack of communication that exclusively comes from himself goes out ”, shows. Later, in the course of the film, the viewer learns that David is not satisfied with his life and therefore deliberately keeps his family at a distance. He avoids Audrey's gaze, and when Joseph clasps his parents' hands when he and his mother are picking up David from the hospital after the train accident, the connection only lasts for a short time. In addition, David does not fulfill his wishes and inclinations. He puts his needs behind those of his wife Audrey. Further examples of “individual renunciation” cannot be seen in the film, “but the way in which David moves in his living environment suggests that he has mainly adapted to suit the purpose: he is a security guard, nothing else, private life empty".
In this family crisis, David's search for identity begins. After surviving the accident, Elijah's intervention raises the question of whether he is not a superhero . David doesn't believe in supernatural abilities and wants to prove otherwise. But through his research into whether he was ever sick, he comes across "his greatest life lie": He had only faked the injury from the car accident in order to be able to lead a football-free life with his wife. But he had pushed this decision aside and put the blame for his dissatisfaction on the family. Now he's torn, which doesn't exactly improve his relationship with his family. Should he remain a normal person or explore his powers? David makes his decision after several pieces of evidence that seem to confirm his abilities: From the hands of a psychopath he finally saves two children. After this self-discovery, David's family relationships improve and he exchanges ideas with his wife again.
Deprivation of father
David does not have a secure identity, moves almost lethargically through everyday life and has little relation to his surroundings. His son Joseph in particular suffers from this identity disorder. He is in puberty and in this time of growing up the father is of great relevance as a figure of identification: The child wants to overcome his childhood by identifying with the father and wanting to become just as “big, strong, omniscient and powerful” he. But David doesn't live up to this claim. This can be seen, for example, when he has to pick up Joseph from school early because he has fought. He says that he doesn't really care about such matters. This statement shows that David rarely deals with Joseph. In the ensuing dialogue, his son demands that he play the role of a father, but David confirms that he is just a normal man. “David fails here as a father in two ways. Firstly, he denies Joseph the protective role and the identification figure as a safe individual anchored in society; secondly, he describes himself as an ordinary man, the word father does not come to mind. ”But when David's supernatural powers appear, they build in different relationship between the two: he develops into a god-like figure for Joseph.
Regression
With the story of Elijah Price, regression emerges as a pathological condition. In the end Elijah accepts his illness and finds a kind of mental calm, but the end is still far from a solution, as he goes the way of a "malicious regression". "This removes the state of uncomfortable tension and (apparently) solves the existing adjustment problem on a lower level". In order to solve this problem, this tension, between himself and the world in which he does not fit or in which he does not feel comfortable, Elijah thinks that he is authorized to carry out attacks disguised as accidents and to kill hundreds of people in the process kill. The regression turns into a psychosis. He justifies his actions by the mythical conviction that there is no evil without good and vice versa. Eventually he becomes the uncontrolled evil that makes the world creepier.
Staging
Color design and light
The interplay of colors in Unbreakable is very important and almost tells its own story. "They seem to withdraw their characteristics from the objects, no longer lay out traces, but are a trace in themselves". The colors are part of the construction of the cinematic narrative and underline the juxtaposition of David Dunn and Elijah Price in the sense of “good and bad”. David's green and, above all, primary colored clothing contrasts with Elijah's various shades of purple , which emphasize his mysterious and eccentric appearance. This look is enhanced by the crooked hairstyle that was inspired by Frederick Douglass ' hairstyle . In order to illustrate David's change, the initially rather pale colors become more and more intense as the film progresses as he becomes conscious.
The lighting also changes its color: the scenes with Elijah change from a warm yellow to a cool, almost metallic blue, the closer the film gets to the end. In David's scenes it is exactly the opposite; they change from the cold blue to this lively yellow. Furthermore, the juxtaposition of protagonist and antagonist is underlined by their skin color contrast (white / black). A dramatic climax in the contrast between the two main characters are parallel scenes between Elijah and David. The comic book collector sits weak and sullen in a stationery shop while David and his wife dine in a restaurant. The security guard and Audrey are enveloped in a comfortably subdued light, the painting behind them offers warm, cozy greens and oranges. “The soft, organic nature of David and Audrey's composition stands against the symmetry of the shelves and the rectangles of the comic books in Elijah's scene.” In addition, the characters' lines of sight are oppositely aligned.
The gallery and the room in the last scene in the film, when Elijah David confesses his assassinations, are staged extremely coldly. In the gallery there is a “dark blue with a tendency towards green and gray”. Even the clothes of the guests are kept in gray, blue and black tones. The room into which the two finally retreat is also lifeless and depicted in the metallic gray-blue, the main light source is a glistening, hard light that shimmers through the window. Elijah blends in perfectly with his dark clothes: He shows David "also spatially his true self".
Camera and editing
The film is characterized by long camera positions, many scenes were shot with just one camera. Around 30 sequences were shot in one take, and the film has a total of 322 different camera positions. For comparison: Movies at the same time as Armageddon consist of two to three thousand shots. In addition to the few shots, there are extremely few cuts. On average, one falls every 18.7 seconds. So the montage makes Unbreakable - Unbreakable mostly a slow film. Furthermore, the film is slowed down by long black fades.
When David finally fights the intruder, "the camera does not leave its observation position". The entire scene is filmed from a single setting. "The objectivity achieved in this way and the awkwardness justified by the plot of the film, which David shows in this fight, make even the apparent overcoming of physical laws credible". Another example of a one-shot scene is David and Audrey eating in the restaurant. They're sitting at a table trying to talk to each other. The camera initially shows her in a long shot, that is, she observes what is happening from a certain distance. Then she slowly zooms in on the couple. “Little by little, the other guests disappear from the off until Audrey and David each fill an outer third of the picture. This closeness reveals the fragility of the relationship in David's evasive gaze. He doesn't seem to be able to withstand Audrey's unbroken concentration on him ”. When David is in the train station and touches people to “see” whether they have done criminal things, the music comes to the fore and the faster cuts and image movements create a clear contrast to the otherwise visual calm of the film.
reception
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When Unbreakable celebrated its world premiere in the United States on November 14, 2000 and finally hit American theaters on November 22, it grossed more than 30 million US dollars on the opening weekend. The reviews were average to positive (68% of the collected reviews on Rotten Tomatoes were positive), as did the audience ratings of the Internet Movie Database with 7.2 out of 10 points.
Roger Ebert , renowned film critic of the Chicago Sun-Times , gave the film three out of four possible stars and was very enthusiastic about Unbreakable in places, but criticized the end of the film. He also praised Willis' performance. Kenneth Turan's opinion ( Los Angeles Times ) , however, was that the film had no originality . He wrote that The Sixth Sense was just better. Variety's Todd McCarthy was unhappy with Shyamalan's script and the actors' performance. But he praised the film editor Dylan Tichenor and the music of James Newton Howard . James Berardinelli wrote that the film has many visual and thematic similarities to The Sixth Sense . Unbreakable is a homage to the comic superheroes and impresses with its clever visual style.
The theatrical release in Belgium and France followed on December 27th, and in Germany on December 28th, 2000. In the Federal Republic of Germany more than one million moviegoers were counted in the first week, in French cinemas around 1.3 million. The French film magazine Cahiers du Cinéma published three different reviews. Emmanuel Burdeau saw the reversal of The Sixth Sense in the film : David Dunn, a living person, is tried to convince that he cannot die while Dr. Crowe, a dead man, believes in his liveliness in Sixth Sense , Charles Tesson described Shyamalan's play of good and evil as " a clairvoyant reflection of the narrative condition of Hollywood cinema" and Olivier Joyard said that Shyamalan had revived American intellectual cinema. In Germany, Heiko Rosner of the film magazine Cinema wrote : “Artful camera work, lyrical scene composition and subtle hints create a creeping suspense, under the surface of which the sting of the supernatural threatens - as if Ingmar Bergman had staged a Hitchcock thriller.” Flemming Schock was of the opinion in the film mirror , Shyamalan shot this film way too fast. It ends in "the purest self-indulgence, renewed supernatural nonsense and a cardboard construct nested according to the snap-shot principle". The only bright spot in this comic-inspired film is the “unconventional formal virtuosity”.
Thomas Klingenmaier ( Stuttgarter Zeitung ) was of the opinion that the director told the story particularly carefully and realistically. In the first half he developed Unbreakable so precisely and sensitively, as if it were a real psycho and marriage drama. The Sixth Sense was not so clever in his image work, so relentless in keeping a life small on the big screen . He also said that the film ended where it had to start: the question of how a normal person can deal with the gifts of an abnormal body, the psychopathology of superheroes. The film was also rated positively in the lexicon of international films : “Exciting mix of horror and psycho-thriller elements, which dispenses with the usual means of staging of the Hollywood genres and tells in long shots and gloomy images of the inner struggle of the main character includes both psychological and spiritual dimensions. "
Overall, Unbreakable - Unzerbrechlich achieved worldwide box office profits of around 250 million US dollars, making it the sixth most successful film after The Sixth Sense , Signs , The Village , The Legend of Aang and Split Shyamalan's film. In Germany the film grossed around $ 13.3 million, in Austria $ 4.8 million, in the USA $ 95 million and in Great Britain $ 16 million. Despite the commercial success, Shyamalan was disappointed with the reception of his film. In addition, he did not agree with Disney's marketing strategy, because he wanted to present Unbreakable as a comic film, not as a psychological thriller like The Sixth Sense before .
synchronization
The German dubbed version was recorded by Berliner Synchron GmbH Wenzel Lüdecke . The dialogue book was written by Alexander Löwe and the dialogue was directed by Clemens Frohmann.
| role | actor | Voice actor |
|---|---|---|
| David Dunn | Bruce Willis | Manfred Lehmann |
| Elijah Price | Samuel L. Jackson | Engelbert von Nordhausen |
| Audrey Dunn | Robin Wright Penn | Arianne Borbach |
| Joseph Dunn | Spencer Treat Clark | Wilhelm-Rafael Garth |
| Elijah's mother | Charlayne Woodard | Hansi Jochmann |
| Doctor Dubin | Michael Kelly | Uwe Büschken |
| Dr. Mathison | Eamonn Walker | Torsten Michaelis |
| Elijah as a 13 year old | Johnny Hiram Jamison | Fionn Michael Verona |
Awards
M. Night Shyamalan received a Bram Stoker Award - and Science Fiction and Fantasy Writers of America - nomination for Best Screenplay. The film won the German Silver Bogey Award and was nominated for the Saturn Award and International Horror Guild as best film. In addition, Samuel L. Jackson, Bruce Willis, Spencer Treat Clark and Robin Wright Penn were nominated for a Blockbuster Entertainment Award .
literature
Primary literature
- Andy Green: Unbreakable: Are You Ready For The Truth? Based on the script by M. Night Shyamalan. Burgschmiet-Verlag, Nuremberg 2001, ISBN 3-933731-57-7 .
Secondary literature
- Marco Kreuzer: The dramaturgy of the uncanny in M. Night Shyamalan . VDM Verlag Dr. Müller . ISBN 978-3-639-05921-2 .
- Nils Westerboer: The Inner Look: On the Construction of Seeing and Knowledge in M. Night Shyamalan's The Sixth Sense, Unbreakable and Signs . VDM Verlag Dr. Müller. ISBN 978-3-8364-7005-6 .
- Bernd Zywietz: Seeing dead people: M. Night Shyamalan and his films . Volume 1. Edition Screenshot, ISBN 978-3-00-025297-6 .
- Bernd Zywietz: Mr. Glas vs. Capitain Unbreakable . In: Film Concepts 6: Superheroes between comics and film . edition text + kritik, 2007, pages 109–115
Review mirror
- Oliver Rahayel: Unbreakable - Unbreakable . In: film-dienst 26/2000. Page 24
- Helmut Merschmann: Unbreakable - Unbreakable: M. Night Shyamalan gives Bruce Willis superpowers again . In: epd Film 1/2001. Pages 38–39
- Holger Kreitling : X-Men. The amazement of the world: M. Night Shyamalan and Bruce Willis have succeeded in creating a new cinematic wonder with Unbreakable . In: Die Welt of December 28, 2000. Page 31
- Jenny Urs: Hell again! In: Der Spiegel 52/2000. Page 202
- Emmanuel Burdeau: Mon père ce héros . In: Cahiers du Cinéma No. 553 January 2001. Pages 82–83
Film analysis and interpretation
- Franz Everschor : A Mystery Game. Thoughts on the "gentle" action film Unbreakable . In: film-dienst 1/2001. Pages 12–13
- Olivier Joyard: Incassable - Classique et Moderne, le film de Shyamalan est-il l'avenier de Hollywood? In: Cahiers du Cinéma No. 555 March 2001. Pages 48–49
- Charles Tesson: Les demons de la fiction . In: Cahiers du Cinéma No. 554 February 2001. Pages 44–46
Web links
- Unbreakable - Unbreakable in the Internet Movie Database (English)
- Unbreakable - Unbreakable at Metacritic (English)
- Unbreakable - Unbreakable atRotten Tomatoes(English)
Individual evidence
- ↑ Age rating for Unbreakable - Unbreakable . Youth Media Commission .
- ^ Everschor, Franz : Comeback for Shyamalan . In: film-dienst No. 19/2015, p. 27
- ↑ Joe McGovern: Unbreakable - An Oral History. Fifteen years after its release, director M. Night Shyamalan, stars Bruce Willis and Samuel L. Jackson, plus other cast and crew, look back on a modern cult classic. In: Entertainment Weekly . Retrieved September 17, 2015 .
- ↑ Agustin Guerrero: M. Night Shyamalan & Sam L. Jackson Defend 'Unbreakable', Talk Sequel. In: Screenrant. Retrieved September 17, 2015 .
- ↑ deadline.com, accessed April 27, 2017
- ↑ a b c d e DVD : Unbreakable - Unzerbrechlich , Making of
- ↑ Angelina Chen and Michael Fleming: Deal makes 'Sense'. In: Variety . Retrieved March 10, 2009 .
- ↑ Inside Moves. In: Variety . Retrieved March 10, 2009 .
- ↑ Interview with sound designer Richard King on the DVD : Unbreakable - Unzerbrechlich
- ↑ a b Westerboer: The inner look . P. 97f
- ↑ a b Zywietz: Seeing dead people . P. 65
- ↑ Zywietz: Seeing dead people . P. 66
- ↑ Kreuzer: The Dramaturgy of the Uncanny in M. Night Shyamalan . P. 98
- ↑ Westerboer: The Inner Look . P. 82
- ↑ Kreuzer: The Dramaturgy of the Uncanny in M. Night Shyamalan . P. 30 f
- ↑ Zywietz: Seeing dead people . P. 74
- ↑ a b Kreuzer: The dramaturgy of the uncanny in M. Night Shyamalan . P. 67
- ↑ This section of text was created after reading Kreuzer: The Dramaturgy of the Unheimlichen by M. Night Shyamalan . P. 28–32 and Westerboer: The Inner Look P. 71–80
- ↑ a b Kreuzer: The dramaturgy of the uncanny in M. Night Shyamalan . P. 31
- ↑ Petri, Horst: The drama of father deprivation. Chaos of Emotions - Powers of Healing . Freiburg 2003. p. 37
- ↑ Kreuzer: The Dramaturgy of the Uncanny in M. Night Shyamalan . P. 85
- ↑ Heuermann, Hartmut: media culture and myths. Regressive tendencies in the progress of modernity . Hamburg 1994. p. 37 quoted in: The dramaturgy of the uncanny in M. Night Shyamalan . P. 67
- ↑ Westerboer: The Inner Look . P. 97
- ↑ Westerboer: The Inner Look . P. 80
- ↑ Westerboer: The Inner Look . P. 96
- ↑ Zywietz: Seeing dead people . P. 63
- ↑ Zywietz: Seeing dead people . P. 64
- ↑ a b Zywietz: Seeing dead people . P. 23
- ↑ Westerboer: The Inner Look . P. 100
- ↑ Kreuzer: The dramaturgy of the uncanny in M. Night Shyamalan , p. 52
- ↑ a b Kreuzer: The dramaturgy of the uncanny in M. Night Shyamalan . P. 50
- ↑ a b Westerboer: The inner look . P. 45
- ↑ Westerboer: The Inner Look . P. 76
- ↑ a b Unbreakable at Rotten Tomatoes , accessed January 29, 2017
- ↑ a b Unbreakable at Metacritic , accessed March 29, 2013
- ↑ a b Unbreakable. In: Internet Movie Database. Retrieved March 14, 2009 .
- ^ Weekend Box Office. In: Box Office mojo. Retrieved March 7, 2009 .
- ↑ Roger Ebert: Unbreakable. In: rogerebert.com. Retrieved March 8, 2009 .
- ↑ Kenneth Turan: An 'Unbreakable' Sense of Déjà Vu. In: Los Angeles Times. Retrieved March 8, 2009 .
- ^ Todd McCarthy: Unbreakable. (No longer available online.) In: Variety. Archived from the original on April 10, 2009 ; accessed on March 8, 2009 . 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.
- ↑ James Berardinelli: Review: Unbreakable. In: reelviews.net. Retrieved March 8, 2009 .
- ↑ M. Night Shyamalan: The best starting weeks. In: Inside Kino. Retrieved February 18, 2009 .
- ↑ Business. In: Internet Movie Database. Retrieved March 7, 2009 .
- ^ Burdeau: Mon père ce héros . In: Les Cahiers du Cinéma 553 1/2001 p. 44
- ↑ Tesson: Les demons de la fiction . In: Les Cahiers du Cinéma 554 2/2001 p. 84
- ↑ Joyard: Incassable. Classique et Moderne, le film die Shyamalan est-il l'avenier de Hollywood? . In: Les Cahiers du Cinéma 555 3/2001 p. 49
- ↑ Heiko Rosner: Unbreakable - Unbreakable . In: Cinema. Retrieved March 8, 2009 .
- ↑ Flemming shock: Unbreakable - Unbreakable . In: film mirror. Retrieved January 29, 2017 .
- ↑ Thomas Klingenmaier: An indestructible X-Man in a rain cape. In: Stuttgarter Zeitung. Archived from the original ; Retrieved March 8, 2009 .
- ^ Lexicon of international film: Filmjahr 2000 , Kim, p. 392 - ISBN 3-934311-10-5
- ↑ M. Night Shyamalan - Box Office. In: Box Office mojo. Retrieved September 17, 2015 .
- ^ Foreign Box office. In: Box Office mojo. Retrieved March 8, 2009 .
- ^ Daniel Fierman: Night of the Living Dread. In: Entertainment Weekly. Retrieved March 8, 2009 .
- ↑ Allison Hope: Shyamalan's Hollywood Horror Story. In: New York Times. Retrieved March 8, 2009 .
- ↑ a b "Unbreakable - Unbreakable" . In: The German dubbing index . Retrieved March 7, 2009
