Glass: Subverting Your Cake And Eating It Too

by Steven Harris

Glass (2019), written and directed by M. Night Shyamalan, starring James McAvoy, Bruce Willis and Samuel L. Jackson.

This weekend saw the release of Glass from writer/director M. Night Shyamalan. Glass serves as both a sequel to Shyamalan’s 2000’s non-traditional superhero film, Unbreakable and 2017’s horror film, Split. Due to Unbreakable and Split having such drastically different tones, Glass had large shoes to fill by providing a conclusion to the Eastrail 177 trilogy. 

Despite its glaring narrative flaws, Glass is a important film to take note of in 219. Much in the vein of how Unbreakable deconstructed the superhero film genre in 2000 (eight years before the birth of the Marvel Cinematic Universe), Glass wrestles with trying to determine what comes next for the genre. While critics have already grown tired of the genre and fan attendance being unpredictable (many predicted that the billion dollar success of Aquaman would be a financial bomb for DC ), filmmakers struggle to determine what direction the superhero genre should go in next. Glass arrives on the scene to offer an answer as to where the genre should go next.

Right out of the gate, the film subverts your expectations of how you think the story will unfold. Since the reveal at the end of Split that the film took place in the same world as 2000’s Unbreakable, viewers were promised an inevitable showdown between Kevin Wendell Crumb and David Dunn.  Expectations based on previous onscreen superhero conflicts dictate that the film would be based on a prolonged game of “cat and mouse” between the hero and villain.  Surprisingly, a majority of them film’s conflict has nothing to do with the might of David Dunn squaring off against the brute force of Crumb’s “Beast” persona; instead the film primarily focuses on the question posed to all three main characters by Dr. Staple (Sarah Paulson) — “What if you aren’t special? What if this is all just inside your head?” The crux of the movie takes place in a prolonged surreal sequence in which Dr. Staple address each of the lead characters and deconstructs the more supernatural aspects of the previous films. She not only places seeds of doubt inside the minds of the characters, but also the audience. After that pivotal scene, both the characters and viewers start to question the reality unfolding before their eyes. As the film continues to unfold, viewers themselves doubt what was previously seen in the film, and start to pity the characters they previously saw as destined combatants, but now see as damaged due to their supposed mental afflictions.

The most obvious subversion in the film is the climax of the film. Typically in superhero films, the climatic final fight takes place in a large public place for the world to see — a fact that Mister Glass is clearly aware of as he advises Kevin Crumb on how to battle David Dunn. Moments like this demonstrate that the film is overly aware of the expectations of the audience in terms of how a story should go. Instead of delivering on the promise of a stereotypical superhero fight, viewers are given is a small intimate fight in the middle of a parking lot. 

Despite the film’s clever subversions and thought-provoking questions regarding superheroes, it succumbs under its own weight. The final reveal that Dr. Staple is a part of an ancient Order designed to suppress individuals with superpowers by either forcing them to believe in a nonexistent mental illness and thereby confirming them into societal norms, or by murdering them, is a major stretch from left field. Almost no ground work is laid for this reveal and leaves the viewer numb at this revelation. However, the implications of this Order make for a more interesting discussion that the film skirts around. One starts with asking the question: Who is the hero of Glass?

Walking into the film, viewers expect that David Dunn will be the one who defeats both the Horde and the titular villain, Mr. Glass. Instead, the film has a much more bleak and unfulfilling ending for David Dunn. In lieu of walking away from a climatic cathartic battle, David Dunn is held down and drowned in a shallow puddle by members of Dr. Staple’s shadowy organization. (Oddly enough, the villains of the film, the Horde and Mister Glass, are allowed to die in the arms of their loved ones.)  Due to the existence of this organization, David was never able going to walk away from the events of the film if he was able to defeat both the Horde and Mister Glass. Even if David Dunn had succeeded in stopping the Horde and Mister Glass, the shadowy organization would have won. The only person who is actually able to defeat the organization was Mister Glass. 

While Mister Glass was previously  a villain in Unbreakable, by the time of his death at end of Glass he has transformed into a more ambiguous character. There is no redemption arc for Mister Glass; he is a man who orchestrated the deaths of thousands in domestic terrorist attacks — a fact that the film doesn’t shy away from. However, the goal Mister Glass is fighting for by the end of the film is oddly admirable. At its core, Glass is a film about visibility and demanding that the world see you for who you are. After years of being sedated, locked away and kept away from the public light, Mr. Glass (an elderly disabled African American man)   fights for the right to have his existence acknowledged. In order to complete his goal, he pairs with the Horde (who at one point proclaims himself to be the voice of society’s broken and discarded) and convinces him that the world needs to know of their existence. The only person standing in their way is Dr. Staple, the person who is actively trying to sedate them and keep their existence hidden away. Dr. Staple is a personification of societal factors that attempt to subdue and repress the extraordinary qualities of individuals. In order to conform Mr. Glass to her agenda, she attempts to essentially lobotomize him and remove his super-intelligence. Although David Dunn opposes them, Mr. Glass is also fighting for David’s betterment as well. At the beginning of the film, viewers are briefly introduced to David Dunn’s lonely existence as he is forced to alter his daily routine to avoid encountering law enforcement.  If the main characters had survived and lived to see the world Mr. Glass was fighting for — a world in which society was forced to acknowledge their existence — David’s life would have drastically improved. Despite dying, Mr. Glass ultimately wins by uploading the security camera footage of David Dunn & the Horde’s fight to the Internet, thereby proving that superheroes do walk among us and defeating Dr. Stable’s attempts to repress and hide the extraordinary.

In addition to having Mr. Glass challenge stereotypical narrative norms, Shyamalan uses him as a way of challenging critics of the superhero genre. During the film, Dr. Staple actively tries to explain away all of the supernatural events of the previous films by offering possible theories of how the characters are able to do the incredible. Her practical theories are so incredibly persuasive that both David Dunn and the Horde start to doubt their own extraordinary existences. Mr. Glass is the only individual who consistently challenges Dr. Staple throughout the film. “You can’t explain away everything” he defiantly tells her as he holds onto his belief in superheroes. In conjecture with the other subversions in the film, Mr. Glass’s statements are not only a challenge to Dr. Staple, but to real world critics of the genre. The statement can be used  a challenge to film critics who constantly berate superhero films for not having the emotional heft of a Paul Thomas Anderson film, and believe them to be nothing more than a soulless CGI fest to sell merchandise. With this statement it is evident that Shyamalan believes that over analysis of the spectacle of superhero films takes away from the experience. When comparing the mixed reception of the introspective and over analytical  Batman v. Superman: Dawn of Justice to 2018’s cartoonish Aquaman, Shyamalan may be ahead of the curve by posing the idea that over analysis of the genre will be the death of it. 

As much as Glass attempts to shatter the expectations and tropes of comic book films, it falls victim to the very stereotypes it tries to defy. The final line of the film proclaiming that a “universe” is about to start falls flat in a media space that is currently dominated by shared universes. Fifteen years ago the line would have been so much impactful, but with at least three MCU films being produced a year at this point, the idea of another shared universe film franchise is eye roll inducing for most audience members. However, the most important takeaways from Glass should not be the final moments but instead the self reflecting journey it took to get there. Just as Unbreakable explored and deconstructed what an origin story was, Glass deconstructs and subverts the audiences expectations of what a superhero film should be. As superhero films are continuously mass produced, hopefully Glass has set the groundwork for what comes next — more thought provoking, reflective films that refused to adhere to what came before.

Episode 1.01 – Batman by Jeph Loeb & Tim Sale

by Steven Harris & Tara Lawson-Harris

art ep 1 Welcome to the inaugural episode of Critically Comics! Hosts, Steven & Tara,  discuss the collected editions of Jeph Loeb & Tim Sale’s collaborations on Batman. Included in this episode are discussions of Batman: Haunted Knight, Batman: The Long Halloween, Batman: Dark Victory, and Catwoman: When in Rome.