Split

Rating: 4/5

Psychological disorders are a bane to sufferers, yet it’s common for horror films to exploit an audience’s lack of understanding - after all it’s natural to fear the unknown and the unpredictable. Abnormal mental states deviating from the societal norms provide an endless goldmine for filmmakers in their quests to provide new and striking thrillers or horrors. It’s not the first-time M. Night Shyamalan has used mental disorders to create a chilling aspect. His previous film, The Visit, explored the plight of two children isolated in the countryside with their unnerving, very-unhinged grandparents, all whilst their mother was off enjoying the honeymoon period with her new boyfriend. Given the circumstances it was rather predictable at the end, and although the audience may have been uncomfortable, the big reveal wasn’t really a surprise.

The main point here is how The Visit used psychological instability to add to the shock factor. In Split, Shyamalan expertly treats “dissociative identity disorder” as the premise and fulcrum of the story. The basis of Split is that a man named Kevin (James McAvoy) has 24 distinct personalities with each one having the ability to modify his accent, physiology, and neurochemistry. Of course, this is an inaccurate portrayal of the disorder but the concept works well and for the sake of the film, the audience can look past that.

McAvoy, widely known for his roles in the X-Men prequels as the young Professor X seems to have had enough of being casted as good-looking, straightforward men. Recently the Scottish actor has taken to playing the roles of unpleasant individuals as seen in Filth and Trance. These may as well have been preparatory pieces for Split in which his performance range and acting capability were highlighted.

Shyamalan gradually reveals Kevin’s identities through interactions with the trio of teenage girls that he kidnapped after a birthday party. Drugged by their captor, the three awaken to find themselves in a barren bunker-like room with just a dim light and two beds. With no idea, as to what awaits them, Claire (Haley Lu Richardson) and Marcia (Jessica Sula) are the first to panic, frantically attempting to escape. The protagonist Casey (Anya Taylor-Joy) seems to be an outsider amongst her peers and at first shows little reaction to the events. Yet with each attempt at freedom, the girls find themselves facing disastrous consequences.

With every aftermath, the entire audience was slouched deep into their seats, watching with bated breaths, in anticipation of the fate would meet the teen. The audience quickly finds that McAvoy’s erratic construct has the upper hand in all situations and with a series of locked doors in an underground labyrinth and no means to access the outside world, the girls are pushed into making drastic decisions. They gain information over the course of the movie, allowing the audience to try to piece together the events with each snippet. Not a lot is revealed until the very end though and that’s Shyamalan’s exact technique – too keep you guessing.

Like any skilled director, Shyamalan creates an atmosphere that he moulds to suit his vision. The majority of the film featured windowless, serpentine corridors riddled with rusted pipes and locks. The harsh light in the dull hallways offered little comfort and even in the audience you would feel a sense of claustrophobia. For that reason, it’s highly appreciated how Kevin occasionally leaves the underground confines to visit his psychologist, Dr. Fletcher (Betty Buckley) above the ground. Aside from the tension break this gives the watchers, it also gives insight into Kevin’s more resilient persona, Dennis, who takes it upon himself to carry out tasks that he feels his weaker original can’t undertake. Assuming the role of Barry (Kevin’s most stable and likeable personality), Dennis meets Dr. Fletcher for regular check-ups which eventually leads up to information on the 24th personality, otherwise known as the “Beast”, a superhuman, almost animalistic individual able to defy physical restraints.

In contrast to McAvoy’s characterisation of Kevin and his other personae, the female lead, Casey lacks substance. Though certainly more fleshed out than the other girls her character provided very little to relate to and failed to make many memorable scenes. If anything, her construct garnered pity from the audience, brought about by her flashbacks to childhood hunting trips. Casey is a subdued character, she’s emotionally distant, uncooperative and closed off to those around her. However, there’s an appeal to this, an allure that brings out Shyamalan’s central theme in Split: the concept of isolation, being treated like an outcast and how society ultimately shapes who you are as an individual.

Still, Shyamalan’s is inaccurate presentation of the mental condition can be criticised as having glorified similar disorders, it has given McAvoy what could be described as so far, the most defining role in his career.

McAvoy’s acting is what made Split. With costume changes to signify the change in character, he immerses himself into the role. We watch him bare his teeth like a wild animal then dance to Madonna in a humouring though disturbing manner. He transforms from a presumably homosexual fashion designer to a naïve nine-year-old with a constant lisp. It must be acknowledged that McAvoy delivered more than expected.

Split is refreshingly smart film, with thoughtful suggestions and philosophical hints to get the audience debating. Constantly keeping us guessing and on our toes, Split stands out amongst the films that have come out this year. If you want something that will leave a lasting impact and have you deliberating Shyamalan’s messages, then this film is a must.