by Enzo Baretti
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From heartwarming tales of love and sacrifice to gut-wrenching narratives of loss and redemption, cinema has the remarkable power to elicit a wide spectrum of emotions, and today, we’re diving headfirst into the deep end of the emotional pool.
The Mist (2007)
The Mist, directed by Frank Darabont, is a masterclass in suspense and psychological horror. Adapted from Stephen King’s novella, this film plunges viewers into a small, tight-knit community besieged by a mysterious and otherworldly mist.
However, the ending truly sets The Mist apart. After spending almost the entire movie cooped up in the supermarket, hiding from the monstrous creatures in the mist, David Drayton and a select group of people make a harrowing decision. They leave the safety of the building, only to find themselves stranded on the road with the car running out of gas mid-journey.
Faced with the grim choice of being ended by the creatures or by their own devices, the group allows David to shoot them all as an act of mercy. This includes David’s young son, who was only eight years old at the time.
The emotional intensity of this scene is nothing short of gut-wrenching, as David is forced to make an unimaginable choice. The desperation and hopelessness are etched on his face as he carries out this heartbreaking act.
But here’s the twist that drives the intensity of the ending even further: after the devastating ordeal, when David walks outside, he expects to meet a horrific monster. Instead, he witnesses soldiers cleaning up the area, indicating that the Army base responsible for the disaster has gained control.
The real gut punch comes when he sees truckloads of survivors from the supermarket they had fled, including a woman who previously wandered into the mist, played by The Walking Dead‘s Melissa McBride.
For many viewers, this ending is a haunting reminder of the unpredictability of life and the moral complexities that can arise in dire situations. It’s a conclusion that lingers in the mind long after the film ends, provoking discussions about the nature of hope, despair, and the human capacity for both compassion and cruelty.
The Green Mile (1999)
Michael Clarke Duncan plays John Coffey, a gentle giant wrongfully convicted of a terrible crime. It becomes increasingly evident during the movie that Coffey is innocent, incredibly sympathetic, and kind-hearted. It is a gift that is both a source of awe and tragedy that he can heal people by absorbing their suffering and illness.
The execution scene is a heart-wrenching portrayal of the injustice and cruelty that can exist within the criminal justice system. As Coffey is led to the electric chair, his fear and innocence are palpable. The emotional weight of the moment is amplified by the knowledge that his death will not only rob the world of a remarkable and innocent soul but also represent a grave miscarriage of justice.
In the end, the execution of John Coffey in The Green Mile is a profoundly tragic and emotionally charged moment that lingers in the hearts and minds of audiences. It underscores the film’s central themes of redemption and loss while prompting viewers to confront the harsh realities of a flawed justice system that can lead to the ultimate tragedy: the wrongful execution of an innocent soul.
The Fault in Our Stars (2014)
Josh Boone’s film The Fault in Our Stars, based on John Green’s best-selling book, is a touching and heartbreaking examination of adolescent love and the brutal reality of disease. Two teens who meet in a cancer support group, Hazel Grace Lancaster (played by Shailene Woodley) and Augustus Waters (played by Ansel Elgort), are the movie’s subjects.
The movie is fundamentally a love story, but it’s a unique kind of love story. Hazel and Augustus become close because of their similar experiences with cancer, and their bond is strengthened by their wit, intelligence, and ability to see the good in difficult circumstances. The difficulties they face as they deal with their ailments are expertly depicted in the film, along with the complexity of their relationship.
The ending challenges traditional narratives about illness and death in cinema. It refuses to provide an easy resolution or offer false hope. Instead, it confronts the reality of mortality head-on, prompting viewers to grapple with the complexities of life and loss.
Se7en (1995)
The psychological thriller Se7en, directed by David Fincher, explores the deepest parts of the human soul. The film is an intense examination of the seven deadly sins and the terrible lengths to which serial killer John Doe (Kevin Spacey) is prepared to go to prove his ominous moral point.
As they work to investigate a string of horrific killings, detectives David Mills (played by Brad Pitt) and William Somerset (played by Morgan Freeman) are sucked into the frightening world of the killer. They are confronted with gruesome revelations that challenge their understanding of justice and morality.
Doe’s heinous act of killing Detective Mills’ wife and child serves as the most personal and devastating blow. Mills’ murder of Doe, on the other hand, is a pivotal moment in the film, as it brings him down to the killer’s level, as per Doe’s own twisted logic. It becomes a stark and chilling example that no one, not even the most admirable person, is immune to the temptation of sin when pushed to their limits.
Cinema’s ability to provoke profound emotional responses is nothing short of remarkable. These sad movie endings, with their heart-wrenching conclusions, remind us of filmmakers’ artistry and storytelling prowess. They serve as a testament to the capacity of cinema to transport us to worlds of emotion and make us feel deeply connected to characters and stories
