The most beautiful film I may have ever seen is Tarsem Singh;s The Fall. Many who saw Singh's previous film The Cell with J-Lo and Vincent D'inofrio have marveled at Singh's capacity for creating imprcably layered and stunning visual images. The Fall brings it tenfold.
The Fall is a tale within a tale, initially set in a Los Angeles hospital in the 1920s, wherein a little Serbian girl, Alexandria, has a chance meeting with a depressed and death-driven stunt double, Roy. Both characters suffer their injuries from a fall, one picking oranges in the LA groves, one on a horse off a train bridge in an attempt to end his life. Ever suicidal over not only the loss of the woman he loved but also now the movement of his lower limbs, Roy lures Alexandria into his confidence with a marvelous tale, in hopes that she will steal enough morphine tablets for him to finally kick the bucket.
The tale he tells is an epic, with elements from around the world. What Roy describes, however, is not completely what we see, because the masterful visuals of the tale are through the imaginative young eyes of Alexandria. Roy's characters, for instance, include an "indian wounded over the loss of his squaw," but Alexandria, whose family immigrated from Persia, conjures him as katara-wielding man, clothed in fine vibrant silk.
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