M. Night Shyamalan had the luxury of growing up in one of the most white states in the country; Pennsylvania. It is no doubt a given that Mr. Shyamalan encountered some Amish and Mennonites folk whilst growing up but he also probably encountered the human zoo desperation of Philadelphia, one of America's various third world refugee disaster sites. Despite his own third world ancestry, M. Night Shyamalan seems most cinematically concerned with the dispossessed majority aka America's white population. Unlike most of the cynical artless filth that comes out of Hollywood, M. Night Shyamalan seems to respect white American traditionalism even if he acknowledges it as a rusting antique hardly capable of refurbishing itself. In The Village, M. Night Shyamalan looks into a vacuum of the old white world, although the world really is not old but a creation of a group of elders who decide having a contrived atavistic re-awakening is the best way to go about rejecting the urban degeneracy of parasitical postmodernism located in the city.
Although most whites do not know it, the third world has been awaiting for the collapse of the Occidental world for sometime. The historical masterpieces The Rising Tide of Color by Lothrop Stoddard and Hour of Decision by Oswald Spengler reveal how even the most backwards gutter-dwellers of the world's numerous ghettos have long realized that the white man is losing his power. In fact, this has been going on for over a century (or more like a couple) now, for that is exactly why the former slave has lost respect for his master. After all, the former slave had more respect for his master when he was a slave, not now where the former master is a slave morality-filled coward who goes out of his way to seek atonement from the formerly dominated. What could be more pathetic? Of course, The Village does not deal with white slave-owner types, but instead the more respectable attributes of traditional white culture. The tight-knit community in The Village is morally sound, hardworking, honest, god fearing (or monster fearing), and friendly amongst one another. There is even room for the town retard (played by Adrian Brody) to be justly treated (and not as someone that should be babied like in modern American victim "culture"). After all, welfare is a Nordic invention that has no doubt been exploited by America's finest conspiring types. When retard-Brody falls to his death whilst pretending to be a monster (he never needed the mask with that beak on his face), the town uses the death of the intellectually challenged man as something positive, a young man martyred to the evil monsters of the woods. Like the renegade Jew Jesus Christ, it does not matter whether the man was a sinful saint or a dandy delinquent, what matter is that his death symbolizes something more powerful and higher than themselves, something that can make others feel more humble.
Like in all the other M. Night Shyamalan films I have seen (and I can't say I care to see all of them), the white family/families finally come to terms with their hardship and go on. Maybe this is M. Night Shyamalan's hope for America's future, for the immigrants from India generally seem to realize that they can do quite well in white America, unlike many of the other third world diaspora groups who are simply destroying it/feeding off it's fruits. With the intellectual bankruptcy of modern American academia it is no surprise that another Indian S. T. Joshi has taken over the work of two of America's last great writers: H.L Mencken and H.P. Lovecraft. Surely, the average white American is unfamiliar with the work of these two great literary sages, but at least someone has enough respect for them to keep their legacies going. M. Night Shyyamalan, for better or for worse, is one of the few American filmmakers whose films uphold any type of traditional values. I might not think much of The Village or any of his other films, but I can respect he has given the general public a voice of reason, something that seems to be on it's way out in the West. One thing I do like about M. Night Shyamalan is his Hitchcockian cameos, for he surely is an outsider looking in.