Filmed piecemeal over four years and across at least twenty countries, funded in great part (millions of dollars great) by the director himself, The Fall is perhaps the definition of a passion project. Itās unwieldy, strange, jumbled, and, despite its epic scale, intensely personal, so if you canāt get on its wavelength it must seem mighty insufferable. But if youāre ready for it, if you can find yourself inside the film, its story is not only a powerful and moving depiction of how storytelling, and in particular, filmmaking, can save a personās life, but a grand vision of how the world is, and how it should be. Visually spectacular (not a single landscape computer generated, so says Singh), it plays to Singhās strength in imagery, letting it overtake the storytelling when words become too small to say what he needs them to say. In the end, its these images that express the goal that Singh was aiming for; to make the personal a dialogue, to invite the audience into something that can become theirās as well. When Catinca Untaru, playing a little girl enveloped by bed-ridden actor Lee Paceās story, asks him why heās killing all the heroes in the fantasy, Pace responds,Ā āItās my story.ā Heās the self-indulgent filmmaker. But then she responds,Ā āItās my story too,ā and we understand. There is no other movie like it.
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