For the past 25 years, M. Night Shyamalan has been creating some of the most original, high-concept films to hit the screen, including his latest project trap. There’s something unexpected lurking around every narrative corner, leading the viewer toward a cumulative moment that may or may not work.
trap“Shyamalan,” Shyamalan’s 16th feature film, leans squarely toward the Hitchcockian thriller that has long drawn comparisons to the director since his success. sixth sensebut with a signature twist. Rather than telling a harrowing story from a cop’s perspective, Shyamalan plays a cat-and-mouse game through the eyes of a killer.
But why do we root for this charming, manic dad? At the end of the day, Cooper (Josh Hartnett) is still a tornado killer, a man trapped somewhere in a basement, correct? This is an M. Night Shyamalan movie, so nothing is as it seems.
cat and mouse game
Some of the best thrillers feature constant pursuits, near-captures, and constant escapes from seemingly inescapable situations. The delicate dance between pursuer and perpetrator means something unknown is waiting around the corner.
Shyamalan plays a cat-and-mouse game from beginning to end trap Construct a complex narrative that blurs the lines between good and evil. Of course, we know serial killers are evil. But we still find ourselves wanting to get away from Cooper as he uses his charm and wit to evade the police who block every exit for him at a Lady Crow (Saleika Night Shyamalan) concert.
This tension is built into the fabric of the cat-and-mouse game, keeping viewers on the edge of their seats as they scan the screen for clues about what’s to come. As the threat gets closer, Cooper’s decision-making skills must be quick and well thought out. How will this next step help or hurt him? What impact will it have on my daughter’s quality time?
Someone always wins in the end, but the question the audience wants to know World Health Organization.
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trap Turning a simple premise upside down
If this cat-and-mouse premise sounds simple, that’s because it is. This premise has been exploited to great effect in film noir, e.g. maltese eagle and Big sleep. These movies usually feature a hard-boiled detective chasing an elusive criminal.
trap Following the premise, we turn away from the detective and show us the point of view of the rat trying to escape the trap that has been set.
Shyamalan paints an interesting corner of the story: How does a man with no way out escape? It’s the challenge that drives the story, providing motivation for Cooper and the audience to solve the mysteries posed by the writers.
The perspective flip works because the stakes are clearly established from the beginning of the film. Cooper is attending a concert for his daughter (a Gold Star Dad moment) but occasionally sneaks away to spy on people in the basement with his cell phone. His bloodlust as a butcher and his desire to be a good father are squeezed into the same space, forcing a fierce battle over which version of Cooper will leave the stadium.
If the story were told from the perspective of FBI profiler Dr. Josephine Grant (Hayley Mills), the only bet in the story would be that one of the small group of people attending the pop concert It’s a killer. We don’t know if he intended to kill someone there or why they needed to catch him there. The stakes are relatively low compared to Shyamalan’s chosen perspective, which makes it easier for the viewer to detach from what’s happening on screen.
As the killers try to escape, viewers enjoy seeing how cunning they can get out of any situation that might lead to their capture. There was the thrill of almost being caught.
Read more: Raising the stakes: 5 lessons on how to write action and adventure that sell
“Trap” (2024)
The heart of fear is trap
but trap It only works if we support Cooper, and we certainly will. Harnett’s good looks and charm make him a generic leading man, which helps dispel any superficial concerns we have about him as a killer, but it’s his relationship with his daughter that makes us believe he could be a good killer.
Inspired by his love for his daughters (one of whom even appears in the film), Shyamalan brought his own fears to Cooper by putting her daughter’s unconditional love for him at risk.
We see Cooper’s deep care for his daughter as he attends her favorite pop star’s concerts, connects with her after discovering she’s been shunned by friends, and empathizes with the youth lost in other people’s lives. At times, Cooper felt like his daughter’s only friend. We all go through adolescence, and many of us wish we had a parent who, like Cooper, ensured our happiness. Supporting your daughter’s happiness is supporting Cooper’s happiness.
But this is a thriller. While we accept Cooper’s twisted view of reality, which paints him as a good guy who occasionally does bad things, Shyamalan reminds us of a man handcuffed in his murder house.
This balance of heart and fear can be tricky, but it helps establish why Cooper wants to run away, rather than leaning into the preset reasoning of a serial killer wanting to escape the police.
“Trap” (2024)
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Even if you feel like an idea is being pushed into a corner, trap It means there is always another way out.
Tom and Jerry’s premise is simple, with roots in one of cinema’s most prolific genres, but there’s always a new way to look at it. Whether it’s a mouse being chased by a cat or a new look at how a mouse outsmarts a cat, the idea can go a long way as long as there are enough stakes to keep viewers on the edge of their seats.
Read more: Why you should try writing horror
