Each and every frame a painting: From Tarsem’s 2006 film, The Fall
Like the best directors—Scorsese, Spielberg, Hitchcock—Tarsem, right, 46, is known to peers by one name, though it’s his first, not his last. (His full name is Tarsem Singh Dhandwar.)
You, though, may know him by his visually delirious works: the landmark, 1991 R.E.M. music video, “Losing My Religion,” or 2000’s Jennifer Lopez thriller, The Cell.
His latest film, The Fall, out today, continues Tarsem’s penchant for filling the camera’s lens with shocking, lush, and arresting images. The story of a mysterious storyteller who meets a little girl while both are healing in a hospital, The Fall had been held up for years, waiting for a distributor, until it was championed by two other great stylists, David Fincher (Se7en; Fight Club; Zodiac) and Spike Jonze (Being John Malkovich; Adaptation), who are presenting it for its theatrical release.
I’ve filled the rest of this post with frames from The Fall. Feast your eyes, below, or gorge on the hi-def trailer.
1 comment so far ↓
I saw this last night actually. I mostly enjoyed The Cell, but this one left me rather cold. Visually inventive? Sure! But that’s about it. There wasn’t much else there to hold my interest for 2 hours. I think his style is better suited for music videos actually, if only because they’re obviously much shorter than feature films. If he gives his stories as much attention as he does his visuals, I think he’d be one interesting auteur!
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