Today’s cinema adventure: The Fall, a 2006 film, directed by Tarsem Singh, about a suicidal young man who unfolds an elaborate adventure tale for a little immigrant girl as they recover from injuries in a 1920s-era Los Angeles hospital. Filmed over the course of four years at locations throughout the world, it was a deeply personal labor of love for its director, largely financed at his own expense. It was initially released only on the film festival circuit, but, championed by filmmakers Spike Jonez and David Fincher, it was given widespread distribution in 2008, receiving widely mixed reviews; some critics found it a visually interesting bore while others placed it on their best-of-the-year lists, but the consensus was, by and large, mostly favorable, and the film was a moderate box office success.
Based on a 1981 Bulgarian film entitled Yo Ho Ho, The Fall interweaves its main narrative with epic scenes of sweeping fantasy described in the story told by its broken adult protagonist, Roy, a novice movie stunt man whose spine has been damaged in a fall during his first film shoot. Deeply depressed, he has lost the will to live, but his morose state of mind has less to do with his injury than with the loss of the woman he loves to the movie star for whom he was doubling. Recovering in the same hospital is Alexandria, a precocious Romanian child whose arm was broken in a fall while picking oranges with her immigrant family; curious and imaginative; she has taken to wandering the corridors and grounds, becoming a favorite among the other patients and the staff, who treat her as something of a mascot. When she befriends Roy, he begins to entertain her with a fabulous tale of adventure and revenge, in which a masked bandit and his heroic comrades seek revenge against an evil prince for the wrongs he has done them; it becomes clear that his story is shaped as he goes by his own real-life situation, and that his ulterior motive is to use the continuing saga as a means to coerce his young companion into stealing morphine from the hospital’s dispensary in order to facilitate his intended suicide. As the events of both stories unfold, little Alexandria exerts her own influence, inserting herself into the fantasy and affecting its outcome even as she begins to work her way into Roy’s broken heart. Eventually, the imaginary epic becomes a vehicle for her desperate efforts to keep Roy’s hope alive- as well as her own.
Tarsem’s screenplay, co-authored with Dan Gilroy and Nico Soultanakis, is geared towards revealing the triangulated relationship between reality, imagination, and the unconscious mind; but it is the relationship between its two protagonists that dominates the film, despite the resplendent spectacle of the fantasy sequences in which their shared psychodrama plays out. This is not a negative criticism; on the contrary, the surreal, stream-of-consciousness yarn woven by the convalescent pair is meant to serve as illumination for the real-life process of their psychic healing, not the other way around, and it is a testament of the director’s dedication to his vision that The Fall does not make the fatal error of overwhelming its humanity by emphasizing the adventure plot over the drama which is the true center of the film. That said, one can’t help wishing at times that a bit more effort had been made to forge a stronger coherence into the fantastical subplot, which is as all-over-the-map in its storyline as it is in its pan-geographical setting; but part of the film’s conceit is that the story morphs to suit the changing emotional needs of Roy and Alexandria, replicating the spontaneity and whimsy of a game of make believe, and though it may cause some frustration in viewers attuned to logical, linear storytelling, its structural malleability is in keeping with the larger purpose at hand.
The changing dynamics of this fantasy narrative yield numerous interesting subtleties. We see, for example, that its visual manifestation is shaped by little Alexandria through the discrepancies between what Roy describes and what we see, reflecting her different cultural understanding- the bandits and Indians with which he fills his tale are depicted through the lens of her Eastern European, Ottoman-influenced imagination rather than the Hollywood-Western milieu he clearly intends; and the characters populating the adventure are portrayed by those surrounding the little girl in her real life (nurses, orderlies, visitors to the hospital), reflecting her associations and assumptions about them and what they represent for her. Such clever and thoughtful touches do much to establish the elaborate meta-drama as a stage for the interaction of the two characters’ unconscious minds, as well as providing the source for a considerable amount of humor and even some subtle social commentary.
On a more obvious level, of course, it is these remarkable fantasy sequences that give The Fall its most distinctive quality- the breathtaking visual opulence that is made all the more astonishing by the knowledge that no special effects or computer enhancements were used. Exotic, spectacular locations across the globe were used to create a surreal world of wonder; we are transported to Moorish palaces, ancient ruins, sparkling reefs, lush forests, otherworldly desertscapes, and monumental structures both well-known and unfamiliar, all beautifully photographed and magnificently showcased by Tarsem and cinematographer Colin Watkinson. The characters are bedecked in the lavish costumes of Eiko Ishioka, which conjure a timelessly mythic quality made somehow more magical by their authenticity and their exquisite detail; and the larger-than-life majesty of these segments is undercut throughout with a playful spirit that keeps them fun and relieves the comparatively somber mood of the hospital environment in which the rest of the film is set.
Despite its inherent goofiness and its rambling inconsistency, the tale of the Blue Bandit manages to build an emotional weight as it reaches its climax; and though its characters’ fates are rendered irrelevant by the knowledge that they are wholly imaginary, they are nevertheless granted significance because we have come to care about the pair of storytellers who have created them. It is in those less-rousing hospital scenes that the movie makes the emotional connection necessary to fuel both plots. It succeeds in doing so largely because of the remarkable chemistry between its two leading players, Lee Pace and Catinca Untaru. Tarsem cleverly sculpted this crucial element by shooting their segments in sequence, allowing the relationship between the two actors to develop naturally and taking care to keep the intrusiveness of his camera at a minimum- several scenes were filmed through a hole in the curtain surrounding the bed in which Pace’s character is confined, in order to preserve the feeling of intimacy- as well as allowing young Untaru (along with most of the crew) to continue in her initial belief that Pace was actually paraplegic. In addition, much of their dialogue was unscripted, permitting the girl to use her natural expression; this not only results in a truly genuine performance from the little star, capturing her infectious real-life personality onscreen, but actually bore influence on the film’s scenario, with the director adapting certain elements of the story in response to spontaneous developments that took place in front of the camera. This organic, delicate approach certainly paid off: the result is one of the most endearing, believable child performances ever put on film, and a magical, touching onscreen relationship that informs everything else that happens in The Fall. Due credit goes to Pace, as well, who gives us a heart-rending portrayal of a young man crippled by morbid despair even as he manages to hold up his end of the connection with his juvenile co-star, not to mention the considerable task of embodying the fanciful hero of his fabricated saga.
Though the two central performers play an enormous part in making The Fall appealing, the real star is director Tarsem. Having established himself as a talented film craftsman in the field of commercials and music videos (including the multi-award-winning video for REM’s “Losing My Religion”), he made his feature debut with the stylish 2000 thriller, The Cell, which was sufficiently successful to gain him the clout- and the finances- to make this highly personal film. Choosing to pay for the bulk of it himself in order to forgo the necessity for compromising his vision to meet the demands of backers, the end result of his dedication is a visually stunning piece of filmmaking, laden with magnificent scenery, brilliantly composed frames, a dazzling array of color and light, and threaded through with an obvious reverence for the cinematic medium itself; continually incorporating elements of optical illusion and perceptual trickery (with numerous clear nods to the art of Salvador Dalì), he reminds us of the illusory nature of existence and celebrates the simple magic with which our lives can be enriched- not just on the big screen, but within our own imaginations. He also proves that his ability is more than merely technical with his savvy handling of the actors and his wise approach of allowing their own artistry to make its contribution to his film, infusing it with an vibrant honesty that makes it much more than so many of the hollow, soulless spectacles foisted upon us in our neighborhood multiplexes today.
The most pertinent question, of course, is the same with The Fall as it is with any other move: is it sufficiently engaging to sustain interest for its two-hour running time? Many critics- and other viewers- did not think so; doubtless those who were bored were expecting a comfortably predictable adventure fantasy, along the lines of The Princess Bride, with enough artsy quirkiness thrown in to appeal to the highbrow set. If so, it is no wonder they were disappointed. Tarsem’s film defies expectation, choosing instead to tell its own, bittersweet little story in a highly unorthodox style; it is a movie about the heart, the mind, and the imagination, and its characters are not the catch-phrase-spouting adventurers that populate standard blockbuster fare, nor is its action the main focus of attention. Indeed, the movie’s formula is almost an inversion of the norm, with the action and adventure sublimated to serving the needs of the characters’ psychological journeys rather than vice-versa. Such a switch doesn’t make for heart-pounding, adrenaline pumping excitement, and any viewer looking for such thrills is better off looking elsewhere; but if you’re looking for a rare and unique, highly affecting, thought-provoking experience that shines with the sheer joy of filmmaking as an art- as opposed to a cash cow- then you can’t ask for better than The Fall.