The Mothman Prophecies Review
by John Sylva (DeWyNGaLe AT aol DOT com)August 2nd, 2002
THE MOTHMAN PROPHECIES (2002)
Reviewed by John Sylva
Thrills and chills aren't created via an infatuation with blood and guts in Mark Pellington's The Mothman Prophecies but through a remarkable appetite for ravishing the delicacy of human fears. Pellington is a filmmaker who isn't afraid to refrain from answering all if any questions provoked by his film, crafting an X-Files-esque opus that will frustrate those who don't handle ambivalence in film well while conjuring up enthusiastic intrigue from those who do. Regardless of personal tastes though, the Arlington Road director's ability to build a sense of dread from seemingly nothing is incontestable. Pellington views his characters and their surroundings as pawns of a supernatural force that is beyond humanity's comprehension and control, immersing them in a world where a mysterious, never outright shown force reigns, known as Indrid Cold, the Mothman.
That the puzzle of The Mothman Prophecies is such a luxuriant success can be attributed to screenwriter Richard Hatem, who surrounds the Mothman's lurking presence with well-observed small-town paranoia that allows the fears of the film's characters to be palpable. Residents of Point Pleasant, West Virginia recall their experiences with the creature in classic, monster-movie fashion as their eerie recollections unfold in kaleidoscopic flashbacks that lure the viewer further into the film's web of mystery. Reports to the local police department of the Mothman are answered by a visit from Officer Connie Parker (Laura Linney), who embraces every bit of the townspeople's reports, remarking at one point that "things have been kind of strange around here lately."
Fear isn't the only item on Pellington's agenda though, as the Mothman's presence is largely symbolic of central character John Klein's (Richard Gere) own predicaments. After the untimely death of his wife Mary (Debra Messing), Klein finds himself being observed, toyed with by the Mothman, who, much to Klein's befuddlement, is the same creature his spouse was sketching profusely before her demise. The Mothman's presence constantly takes precedence in the Washington Post reporter's conscious, becoming an emblem of the pain he feels over the unexpected loss of Mary. When confronted by the Mothman, Klein queries, "What do you look like?" to which the undefined being simply replies, "It depends who's looking," affirming Pellington's view of the title creature as a symbolic force.
The title prophecies play a minor part in the proceedings until the climax, in which the significance of a prior character monologue becomes apparent. Pellington wisely avoids flashing back to the moment, entrusting the viewer to make the appropriate connections and realize his revelation independently. This ending is also the film's weak point however as the conclusion is all too abrupt and loose, failing to relay the arc of either Klein's psyche or the Mothman's importance.
The Mothman Prophecies is a slick, greatly calculated production that measures every bump, every whisper to perfection, attacking the vulnerability in people's fears of the unknown. Around-the-corner bumps and breaking glass aren't Pellington's brand, with the director's opting for subtle, intricately designed spooks instead. Credit editor Brian Berdan and cinematographer Fred Murphy, both of whose work lends the picture its defining edge, creating an atmosphere of claustrophobic intensity. The director makes particularly good use of mirrors and telephones, manipulating them to become symbols of horror rather than ordinary facets of American life. In fact, these two objects can serve as representations for The Mothman Prophecies itself: When using a mirror or a telephone, you presume to know what's on the other end. But that slim chance always remains in the back of one's mind that sometime, something different could greet you on the other side. That chance is what the appeal of The Mothman Prophecies is all about.
GRADE: B+
Film reviewed August 1st, 2002.
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