Le cadute

I'm pleased to see so many positive reviews of this unique film. I entirely agree that it needs to be seen in a cinema to get the full relentless effect. It's also worth persevering to the end as Greenaway lightens up a bit and gives you a few more clues. In a way it's a shame that he got drawn into narrative cinema after this because The Falls seems a much more original and appropriate vehicle for his talents.

As with his earlier short films, various bits of disparate footage, old photos and other assorted nonsense are woven together with an elaborate cover story, in this case the Violent Unknown Event, which among other things is a metaphor for nuclear calamity (92 is the atomic number of uranium, "Fall" can refer to the fall of man).

Along the way we find a cornucopia of references to Greenaway films past and still to be made - principally A Zed and Two Noughts and Drowning by Numbers - running gags, in-jokes, academic pastiche, whimsical storytelling, different film techniques and ways of constructing reality. Where the average video artwork concentrates on form and style, Greenaway gives us an overdose of content.

It's worth noting that the 92 biographies in the film represent only those victims of the VUE whose names begin with the letters FALL. If you take the whole alphabet into account there are 19 million cases. You get the feeling he really, really wanted to show all 19 million.

Greenaway's new project "The Tulse Luper Suitcase" is apparently a remake or extension of "The Falls" using more modern technology. A definite must-see but it will be hard to top this for sheer demented monomaniacal verve.

"The Falls" is an extraordinary piece of work. Nothing else comes close. The biographies of 92 victims of the "VUE" ("Violent Unexplained Event") whose surnames begin with the letters f-a-l-l, Greenaway's film is a mixture of the encyclopedic, the sinister, the silly and the plain mad. At 3h30, mad as Monty Python and as rambling as Laurence Sterne, shot and narrated in public television documentary-style, "The Falls" is designed to be exhaustive and wear you out; Greenaway himself has on occasion stated that nothing forces you to sit through, and that the film might actually work better if you just dip into it at random - "browse" was the word he used.

When I saw it, there were only myself and two other friends still in the cinema by the time the lights came up. All three of us were absolutely delighted, exhilarated in the manner of kids coming back from the Science Museum. Words like "mesmeric", "entrancing" and "fascinating" were used to discuss it afterwards, as well as "plain daft" (meant as a compliment, of course.)

Not sure if you'll enjoy "The Falls." It depends on what you want from your filmed entertainment, I guess. If you don't really think cinema should do anything other than tell stories that are easy on the brain, don't bother. If you love lists, however, and think intellectual challenge is entertaining, on the other hand, you're in for a treat.

One final note - whoever thought of recommending "Titanic" to fans of "The Falls" is obviously on some really heavy drug I've never heard about. What is it, and what other side effects does it have?

I must admit I find most of Peter Greenaway's movies to be too much hard work. They are usually visually stunning but ultimately too cerebral and contrived for my taste. However I was pleasantly surprised with 'The Falls', his little seen feature length debut. This is one mighty strange movie, even by Greenaway's standards! A mockumentary concerning the mysterious and unexplained "Violent Unknown Event", or V.U.E. Approximately 92 short biographies of V.U.E. victims are presented, the people being selected in alphabetical order, surnames beginning with "Fall", hence the title. We never quite know what the V.U.E. is other than it tends to make people exposed to it mutate, speak previously unknown languages, and become obsessed with birds, flying and/or water. The film goes for over three hours and very few viewers will be able to watch it in one sitting without being driven slightly bonkers. Monty Python fans will probably "get" it as much as postmodernist artheads, but beware it isn't easy viewing, and requires some perseverance. Greenaway says fast forwarding is acceptable. I say almost obligatory! I watched it in three or four sittings, and when interrupted for a minute or two kept the tape running. You really have to watch this profoundly eccentric movie to understand why it's not the kind of conventional narrative that demands your complete and utter attention. At times I was bored almost to tears, at other points almost angry at the pointlessness of it all, but then on the other hand at certain sections you almost get into a Zen-like state and the whole thing becomes fascinating. And I must point at it is often very, very funny. Finishing 'The Falls', even with breaks, was a pretty exhausting experience, and not one I'm in a hurry to repeat, but it's a movie I'm glad I watched, and I recommend it to anyone looking for something (completely) different.

I saw this movie at a Greenaway festival, at the Neptune in Seattle WA a few years back. It was the ultimate realist experience. The movie went on and on merciliess in its informing you of how much was left. I don't think that I have been to any movie where I have seen so many people walk out. This movie has to be seen in a theatre--video offers to many chances for escape. If you let yourself be caught up in it, the experience is unparalled. Not for the weak, but for those that fall into it, a work of pure genius.

I'm a big fan of Greenaway's works and I jumped at the chance to check out this early work by the director on video.

I can't add to what others have said here except to say that it's an excrutiating experience that doesn't have enough humor to keep your interest for the full running time.

At its best, "The Falls" is an interesting and sometimes funny curiosity that points to themes Greenaway would return to again and again in his later work; at its worst, "The Falls" is a tedious experiment.