The Falling

Set in the 1960s at an all girl school we meet Lydia (Masie Williams) who has a best friend in Abbie. They have it all as friends and a love of nature centring around an old oak tree. They have a mixed bag of teachers who seem to adhere to Victorian values and modesty principles – that is despite the burgeoning 'summer of love'.

Then tragedy happens and Masie starts to have fainting fits – very soon the phenomenon spreads and she seems to be at the centre of it. Throw in a mum with issues (Maxine Peake) and a bit of the Occult, forbidden sex and deep rooted paranoia and you have the makings of a rather good story.

Maxine Peake is billed starring here, but she is not really on screen for a great period of time; Greta Scacchi as the dowdy Miss Mantel is though pure excellence in a performance dripping with understatement. I have seen comparisons to 'Picnic at Hanging Rock' and even the events around Salem and the subsequent Witch trials. However, I think such comparisons may lead to expectations that may not be met. It is though a film that had a great idea and I think it could have been taken much further as it sort of peters out; despite that it is still on I can recommend.

Always best on IMDb to ignore the entire crop of 5 starred reviews. They are either deliberate plants to puff the film or starry eyed peeps of little discrimination. I really wanted to like this film. More than decent cast; great location; credible period (late 60's) After 20 minutes I was struggling to keep my eyes open. Several people in the audience just got up and left. Can't quite put my finger on it. It kept hinting as social 'issues' but nobody actually verbalised them. Lots of serious thesps giving deep and meaningful looks, but never saying anything. And why do directors think everyone in the 60s chain- smoked....at assemblies! They didn't!

Puberty is a strong advocate for personable change. Experiencing the evolutionary adolescence that transforms sprouted children into blossoming young adults. Yet, the journey is rarely uncomplicated, demanding physical and mental energy that springs hormonal tendencies into action. None more demanding than the friendship between youthful girls, minor fraternities conjuring rites of passage to solidify bonds. Morley's distinctively bold mystery encompasses the pubescence of an all-girl school, experiencing synchronised mass hysteria after the tragic death of a fellow pupil.

A psychological contagion enabling the exploration of sexuality, moulded by misty melodrama against an autumnal period backdrop. Disturbingly beguiling in nature, through metaphorical body possessions that highlight supernatural elements within the obtrusive sexual motives. Morley, for the most part, captivates when allowing her acting talent to shine through. An innocently naive Williams bravely controlling every scene in her leading role as a psychologically deterred student whom seemingly is a catalyst for the hysteria breakouts. Hospitalised, psychoanalysed and actively withdrawn from therapy, the spells of hysteria are never elaborated. An unexplainable mass psychogenic illness. Morley's intent in ambiguity enables her ostentatious narrative to visualise sexualisation. Hormonal chemicals invading the bloodstream and controlling the mind. A possession, if you will.

Conversely, her screenplay resorts to ethereal poetry and psychedelic narration, emphasising the connectivity between these girls. Unfortunately, several conversational scenes spoon-feed proposed metaphors for the assurance of acknowledgement, most notably the one-sided therapy session that Lydia and her friends endure. Diminishing the bold interpretations that preceded the conclusive act almost indefinitely.

Then the final ten minutes commence and Morley outwardly encounters her own spell of hysteria. The tone alters. The mood unequivocally changes. The pace quickens. She dabbles into darker subjects, a territory that heavily contrasts with the predominantly mystifying narrative. The virginal Lydia interrogating her neglectful agoraphobic mother regarding her father, whilst developing an incestuous relationship with her brother. Discovering her true roots, subsequently offering a hereditary reasoning for her mental instability. It's at this point where Morley loses that tight narrative control. Explicitly presenting a shallow explanation that manages to resolve familial turmoil in a matter of minutes, allowing the supernatural aura to dissipate. Not to mention how under-utilised and misdirected Peake was. Fortunately Pugh's illuminatingly perfect performance makes up for lost talent. The editing imaginatively strings various images together during rapid flashback scenes, which proved effective for the most part. Thorn's soundtrack however was too audacious and overpowering, likening The Falling to a casual summer school trip rather than an existential piece of art.

Morley is a credible director, and The Falling is one feature that uniquely tackles a variety of subjects in a mesmerisingly imaginative manner. Its fundamental issues however are situated in its inappropriate climax and misplaced technicalities that allow the narrative to repetitively faint far too often.

"Picnic at Hanging Rock" a fine film of the 70s, telling a story of how a group of schoolgirls disappeared on a visit to Ayers Rock. This film had it eerie, creepy, atmospheric, less talky than this; in other words classy.

Alas this film, which I thought would match this from the reviews I read, did not come anywhere near it. Whereas this was certainly a personal project to writer / director, to everyone else it really is a non-sensical load of tosh. Neither eerie, classy, engaging or atmospheric.

The school group was similar to "Picnic" i.e. pretty centre of attention girl, mixed up clever girl down to fat eat a lot girl...pretty stereotypical characters.

When the fainting/shaking actually occurs, especially in the school assembly scene I'm afraid it became comical. They were obviously well drilled on how to faint.

The Director did try to convey a sense of nature at work here. For example, intimating that Abbie's spirit lingered among the old oak tree, straight through to hearing fox cries, owls hooting, even in the scenes shot in Lydia's house! Needless to say the (step)brother and (step)sister "getting it on" scenes were pretty uncomfortable. On that point was not convinced on the Mother character, especially the acting.

Major plus however, Florence Pugh, she is going to go far. A great looking girl with a distinctive voice and she can sing play guitar.

One of the London Film Festival's handful of world premieres, The Falling had naturally generated buzz as it's a film funded by the BFI, which is quite unusual for them. Unfortunately, while it has its merits, it doesn't quite live up to expectation as a whole. That said, the limited budget is impressively spread out with a solid cast including Game of Thrones' Maisie Williams and convincing 1960s production and costume design. The creativity of director/writer Carol Morley is less striking. It's a film interested in starting a lot of tangents without finishing them, or instead giving us underwhelming payoffs. It's built on the backbone of an odd mystery, one it's uninterested in resolving, but interested in escalating.

Set in a 1969 girls school, when the promiscuous student Abbie, played by Florence Pugh, accidentally gets pregnant, she begins to suffer from fits of fainting seemingly at random. Her best friend Lydia, played by Williams, deals with the consequences after the epidemic spreads across the school with girls fainting out of control. The film appears to be a story about the friendship between Lydia and Abbie, but it fractures off into different directions, some more engaging than others. Most dramatically is exploration into Lydia's past, or rather, how she came into this world. Her relationship with her agoraphobic mother, played by Maxine Peake, is a key aspect of the film and one of the few things that eventually pay off in a satisfying way, if a disturbing one. It needed some more development beforehand to feel fully fleshed out, but the delivery of it in the third act is the film's greatest strength.

While kept deliberately ambiguous, it appears that the fainting is somewhat of a punishment for early sexual behaviour (which incidentally appears to mostly be instigated by Lydia's brother, played by Joe Cole). There's no charm in its apparent disdain and shaming for the young girls' urges and it doesn't feel like a thought thoroughly argued through enough. It's most interesting for the way the authority figures react, which is in complete denial that anything is wrong, even when Lydia is on her knees in the hallway. Even so, characters don't react the way people would react to others fainting, though perhaps it's supposed to hint about how it's become so tiresome. It contributes to the uneasy atmosphere of the film with its dreamlike eeriness.

It is quite rewarding to see Maisie Williams in this type of environment for a change. It's clear that she's making the most of it and trying her best to feel natural, but she doesn't quite have the conviction to make it work just yet. In time she'll be a great actress. It just feels as though Morley has misjudged what the film was trying to do for the most part, thematically and tonally. It does have some good aspects and interesting tidbits, existentialism that's valid if unremarkable, but as a whole it brings nothing new stylistically to the table and is often too uninspired in execution. It has a bizarre sense of humour that doesn't quite gel with its thoughtfulness and mystery. Solid production for the budget, interesting and engaging moments here and there, but The Falling is misguided from the script's initial intentions direction.

6/10

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