The Falls

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.

only one word comes to mind after watching The Falls. DIFFERENT.then again, Peter Greenaway has never ceased to surprise us (even those of us expecting the surprise). from victim 1 through 92 (including the few who are barely mentioned, along with a very convincing excuse as to why they don't have a full feature mention), the viewer is trapped in this make belief world of this plague that has struck part of the population. The entwining of some of the victims stories gives one a feeling of "now-that-makes-sense", the feeling we get when watching real documentaries.

the musical score left me speechless. and after three hours of listening to it, i am sure it will be stuck in my head all day tomorrow at work. the way it progresses from one victim to the next is fascinating.

i thought that i would struggle to remember individual cases. however, the closing scenes show a quick recap of the victims, and each case is remembered individually. i think that goes to show that the magical moviemaking techniques in this movie left a good imprint on my memory. the absurd tongue-in-cheek eccentricities of each case reminded me of classic british comedy. like the games in Drowning By Numbers, it was amusing to keep up with the humour.

after seeing several Greenaway movies, this one has left the biggest imprint. "The thief, the cook, ...." had a similar effect. however, the effects differ. one is of shock, the other is of brilliance.

I am not holding a drink in my hand at the moment, but if i were, i would be toasting Peter Greenaway in thanks for 3 hours of pure excellence.

This is the pinnacle (some might think nadir) of Greenaway's obsession with lists and catalogues (at least so far). An obsessive film about obsession.

The film comprises ninety-two mini-documentaries of a random sample of people who have suffered as a result of the mysterious (and unexplained) "Violent Unknown Event" (or "VUE" for short). Though the VUE produces varying results, there are some common themes, such as bowel problems, skin conditions, and an obsession with birds. Some of the VUE victims even seem to be turning into birds. Though we never find out, it seems clear that "the responsibility of birds" was a key factor in the VUE.

I love this bizarre film. Despite its three hour duration it rarely drags and is witty and urbane. Greenaway uses the space to indulge in some wonderful running gags (especially the tendency of the VUE sufferers to go around in circles), and to make interesting points about the absurdity of statistics and the way in which science dehumanises its subjects by "categorising" them. This last point is subverted by the odd biographical details which Greenaway supplies us with, helping us to see the victims as individuals.

Greenaway has said that one way of viewing the film is as ninety-two different ways to make a documentary. I see it more as a cinematic equivalent of experimental music. It's like minimalism, with a strict repetitive structure which builds towards a dramatic climax. Nyman's score helps immeasurably in this development, beginning as isolated notes and chords, and finishing as an oratorio. The theme he wrote for the opening credits, "The Boulder Orchard", is fabulous.

All the old Greenaway obsessions are here: sex, death, sex and death, water, birds, calligraphy, etc. The Falls is a catalogue of Peter Greenaway as much as anything else.

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.