Chapter 1: The Overlooked Twist

Revisiting The Sixth Sense, crafted by M. Night Shyamalan, I found myself reflecting on how audiences often remember the wrong twist when discussing the film's brilliance. While the climactic reveal—that Bruce Willis's character, Dr. Malcolm Crowe, is actually a ghost—might be what springs to mind, there exists an earlier twist that holds greater significance in terms of the film's emotional depth and overall impact.

Interestingly, many people no longer view this earlier revelation as a twist at all. If you watched The Sixth Sense upon its release in 1999, you likely already knew about the child with the haunted gaze, Cole (played by Haley Joel Osment), who can see dead people, thanks to the trailer's spoiler.

The marketing team likely chose to highlight this twist for practical reasons; concealing it would have forced the studio to promote the movie as a solemn, gothic family drama with psychological thrills—an approach less likely to attract viewers.

Now, consider your initial experience watching The Sixth Sense. Imagine you picked up the screenplay without any prior knowledge of the plot. You might think, "What’s this? The Sixth Sense by M. Night Shyamalan. Sounds intriguing!"

As you delve into the first 54 pages, you’ll find no ghosts or supernatural elements. Instead, the focus is on a therapist and a troubled child named Cole, alongside his struggling mother (Toni Collette).

In these pages, the narrative centers around character development and the breakdown of communication. The only hints of the supernatural come from odd occurrences like open cupboards and a handprint on a metal surface—scenarios that could easily be attributed to Cole's psychological struggles, which include frequently drawing images of corpses.

Thus, The Sixth Sense does not reveal its ghostly nature until its midpoint, creating an essential aspect of its storytelling. Each scene is meticulously crafted by Shyamalan to present a singular perspective, mirroring a cinematic sleight of hand.

Reflect on this: do you recall that the phrase "I see dead people" is introduced only at the midpoint? This is unusual in terms of traditional Hollywood storytelling, where such a revelation typically occurs earlier.

Imagine a conventional version of the narrative: the initial twist, “I see dead people,” would lead Dr. Crowe and Cole into an adventure to assist the ghosts, followed by a shocking new threat in the latter half of the story. However, withholding the crucial concept that a child sees dead people until the midpoint creates an impactful narrative shift.

This moment is strategically revealed after Dr. Crowe shares how aiding Cole might also address his own unresolved traumas. The stakes escalate dramatically when Cole finally confesses his secret—only to reveal the presence of ghosts.

This earlier twist is far more crucial to the film's narrative and themes than the ending reveal, defying conventional screenwriting wisdom. It’s fascinating how such rules, while useful, can also feel constraining.

Consider pitching a similar idea today: “I want to create an alien invasion story, but we won’t mention aliens until halfway through.” The response would likely be incredulous.

So, what’s the takeaway? Audiences have developed an intuitive understanding of traditional screenwriting norms through years of film experience. By mastering these conventions, as Shyamalan clearly did, one can effectively manipulate audience expectations.

If you found this exploration of supernatural storytelling engaging, you may also appreciate my article on Ghost, where I discuss how collective memory shapes our understanding of films.

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