Um Dia de Fúria

Take the hottest day of the year, a traffic gridlock, cracked pavements, dirty streets, unwarranted hostility and a general feeling of being short changed. Then add the frustrations of having an estranged wife and child, an extremely jaded and unbalanced mindset, and the frustration of being obsolete with no marketable skills. Set them against the decadent back drop of modern day LA where if you are 'Not economically viable,' you are of no use, and the result is Falling Down.

The tag line 'The Adventures of an Ordinary man at War with the Everyday World,' makes Joel Schumacher's masterpiece sound like the benign story of a working stiff with issues. However Falling Down is a dark and engrossing urban fable, a study into the mind of the disenfranchised and reminder to all that the removal of comfort is a lot closer than we care to believe.

Full of clichés, like the cop on his last day before retiring, Falling Down bravely meets all expectations of stereotypes, rather than challenging them, making for a realistic reflection of a failing society. Here, a man in extremis, without the feral cunning or killer instinct required for a life in the street, makes his way on anger and luck alone, somehow surviving to leave a paper chase of violence and destruction behind.

Relying heavily on symbolism, illustrating a flip side of America running parallel to the hunky dory world occupied by the successful, the over all message of 'No Matter, Never Mind,' is clear in this world where children play next to vagrants dying from AIDS and Korean grocers can legally steal from the public with their overpriced goods.

Michael Douglas displays some hitherto unseen talent as the unbalanced D-FENS, as he casually totes gang weapons (complete with rubber bands on the grips) in his formal shirt and tie, does battle with store owners and comes up against fast food restaurants, homeless people, gangsters and Nazis. Robert Duval is equally brilliant as the desk jockey on his final day, determined to stop anyone else from being hurt, including the perp.

There is, of course, a small amount of Hollywood sentimentality thrown in for good measure, however the dynamics of such a strong narrative make this completely forgivable and it's possible to overlook this as a flaw given the film's overall strengths.

Praise surely has to go to Ebbe Roe Smith for writing one of the finest scripts ever to grace celluloid. Known for bit parts and cameos, who the hell knows who Ebbe really is? Look on IMDb to find out (if you're a geek like me) or release him into the ether if you don't care. The truth is, he's out there. The question is: Where's the next script?

On the whole, Falling Down is a powerful and dramatic indictment of American culture, societal decadence, and the failing values of the West. It's not for everyone and will most certainly offend some, but if approached with an open mind, will provide plenty of fuel for thought.

It has been 26 years since this movie came out. I saw it finally yesterday after desiring to see it since it was first advertised on circuit all those years ago. And what's my synopsis of this semi-vintage movie?...brilliant! So worth it! So much better than I ever imagined it could be! And not outdated at all! I expected it would be a novel, fun, action-packed movie about a guy who's had enough; with something of a pointed statement/indictment against our modern urban society. And it is that...but also so much more! This film is a masterpiece; it is beautiful and poignant art. There is not a scene or a shot or an utterance that is not absolutely intentional, loaded with depth and/or intrinsic to both the unfolding narrative and to its poetic depiction of humanity and the state of the world. It's a film that makes me feel robbed for having watched dozens of mindless one-dimensional action movies over these years. The writer (Ebbe Roe Smith), the director (Joel Shumacher), the awesome actors Douglas and Duvall and everyone involved with this production do not deserve a tinselly Oscar...they deserve a medal! And this movie deserves a shelf at the Louvre! And it most certainly deserves to be watched! As for me, I will be grabbing my shovel and go tracing the seam of movies from these great artists in search for more undiscovered gold. Last words: know that the language is not toned down and the very hard, very real issues that it deals with are weighty, so it's not for every audience or every occasion. But it couldn't have been any other way for being a look on real life. Phenomenal though that there is such hopefulness, joy, inspiration, overflowing humour and clever wit in this story. It is not at all a dark or depressing or ugly movie while it deals with matter in our society that is just that. It is like a great red wine that has the sweet and the bitter and the dry just perfectly balanced ... you take a sip, savour it and sigh out, in deep satisfaction!

The older you get, the more you will make sense and understand this movie

This movie is brilliant. It's severely underrated, criminally misunderstood, and I believe, totally ahead of its time. In "Falling Down", Michael Douglas has brought to life one of the most believable, likeable, and disturbing antiheroes of all time. It's a poignant tale of the everyman finally getting sick of the various stupidities, banalities, and irritabilities (I'm coining that if it's not already a word) that plague our modern life. It's a film that, at the beginning is as hilarious as it is true, but as the film continues, it proceeds to become more real, more disturbing, but also more grounded in its message. It's ridiculous and insane, but it also cuts deep to the truths that all of us feel at times. I've seen a number of Joel Schumacher's films, but this is the only one I could imagine myself watching multiple times. It depicts the American dream better than most films out there. It shows the everyman's struggle to conquer what he believes is wrong. It gives us a person to root for who is idealistic and filled with bravado, but also a man who is seriously flawed. I really believe this picture was ahead of its time; it didn't get incredible reviews, but I'd argue it's Joel Schumacher's crowning achievement.

Falling Down (1993)

Tagged as `the adventures of an ordinary man at war with the everyday world,' Joel Schumacher's `Falling Down' tells the tragic tale of William Foster aka D-FENS, a now unemployed defense worker who finds himself trapped on a hot summer day in bumper-to-bumper Los Angeles traffic. Having been pushed past the brink of sanity, Foster loses it and storms out of his car, walking around town and trying desperately to see his little daughter for her birthday, a daughter who is untouchable because of a court order against him by his estranged wife. Along the way, Foster will run across character types we've all come across: the 'war veteran' bum who is really just a lowlife looking to score some quick cash, an irate Korean grocery store owner, a homophobic neo-nazi army retail store owner, a crusty elitist country club golf player, super friendly fast food workers, young Hispanic thugs, and so forth. And each one will chip away at what remains of his patience and tolerance for stupidity, fueling a rampage.

Up against this anti-hero is Prendergast, a veteran cop who has felt many of the same pains as Foster, but who serves as sort of a foil to him. Foster has lost everything, and while Prendergast has lost quite a bit (his wife is a basketcase, his little daughter died years ago under mysterious circumstances), he still retains some optimism, calmness, and dignity. As Prendergast, who is on his last day on the job, begins to put together the pieces of the mysterious crime spree plaguing the city (he seems to be the only one smart enough to figure out it's all the doing of one man!), it pits him in an inevitable confrontation between him and Foster.

Michael Douglas, playing Foster / D-FENS plays an incredibly complex character. On the one hand, you know much of what he does is so wrong, but at the same time there's immense satisfaction at seeing him lash out at those deserving of it. And while he tries to stay calm, he finds himself constantly provoked by those who have 'wronged society.' In fact, many of the things he does could so easily have been avoided if the 'victims' were not so positively despicable. You can't help but feel at the end of the day, when Foster gets his due, that he's, in some small way, made Los Angeles a better place despite the carnage he's unleashed.

And this is perhaps what is so strange about the movie. There seems to be no clear message. Who was right? Who was wrong? It becomes a very blurry line over the approximately 2 hours of the movie's run. I've seen it now several times and I still can't give any definitive answer. Perhaps this is a strength, that different people will view this movie in different ways. Some will see this as the story of a noble, decent man who modern society has beaten down and crushed, and who desperately tries to struggle against the tyranny and betrayal. Others will see Foster as a lunatic who needed to be put down. No one, I think, will find that Foster doesn't warrant some sympathy.

Personally, I think Foster got the wrong end of the stick. His wife's anger and fear of him seems somewhat unwarranted, and though it is clear that Foster (and not just society itself) has brought many of his problems upon his own head, he is tired and angry and rightfully resentful at the course his life has taken. He feels he has nothing to live for, so he takes it out on anyone who crosses his path. I recommend this movie because the performances are all-around great, it delivers a solid cast, and as the portrayal of one man's journey down the path of madness, few have done better.

Grade: A-