The Fall

“Man fucks woman. Man subject. Woman object. That’s fine for you. Woman fucks man. Woman subject. Man object. That’s not so comfortable for you, is it?” The British sister of Saga Norén finds herself in a world of men who love women...but in a very unhealthy way. Complex female characters are still not something so common in films and series, especially crime films and series, that I would be enthusiastic about The Fall only because of Stella Gibson. It is fascinating how Gillian Anderson puts such great effort into every nonverbal message while embodying the role of an exceptionally intelligent professional with an analytical mind and strong moral principles. Thanks to the multiple meanings of her seemingly apathetic glances, we are not indifferent to Stella, despite her coldness. At the same time, she never shows so much empathy that she would completely negate the parallels between herself and Paul, on which the dynamics of the narrative are based. Both of them find satisfaction in work done flawlessly, both are almost fanatically devoted to their respective missions, both are predators (though the ending of the first season indicates that one of them could become prey next time). We are led to search for similarities between the elusive serial killer and the good detective not only by the dialogue about dual personalities, but also by a parallel montage of their respective actions, carried out with the same precision and possibly with similar psychological motives (coming to terms with the past). The creation of thematic, motivic and compositional connections between Stella and Paul’s storylines, with the essential question “WHEN will they finally face each other?” in the background, contributes to the chilling feeling that the killer is at least implicitly present at all times. Instead of outright horror scenes (as in Luther), this unrelenting malevolent sense of foreboding is the main safeguard preventing viewers from losing interest. In fact, the characters certainly spend more time analysing their mistakes than successfully resolving situations, and the joy of most shifts in the investigation is further tempered by cutaways to another crime committed. One step forward, two steps back. 90% (10.01.2015)

There’s nothing better than being surprised by a crime investigation show with an environment and style that aren’t very typical for a crime show. Gillian Anderson was definitely one of the more unusual investigators, which made me really happy. In any case, the most interesting thing about this two-season small-scale TV show was the fact that it not only introduces the investigators with Gillian in the lead, but also analyses the perpetrators, whom you know about since the first few seconds. And by the way, Jamie Dornan’s performance is absolutely incredible. You don’t see that very often in TV shows. (24.06.2015)

A crime movie which at first glance seems commonplace and uninventive - one of those “emancipated female vs. perverted maniac male" thrillers that you’ve seen a hundred times already. But the seemingly commonplace nature of it dissipates in the first few minutes. This turns out to be a worrying series. Very worrying. It doesn’t try to impress with (explicit) violence not does it count on genre props, but goes at it old-school style, through the meticulously built atmosphere of a bleak Belfast. It’s slow, taciturn with long, almost hypnotic scenes where nothing seems to happen. But under the surface it bubbles away, because the actions of the “main pervert" are chillingly realistic. More than in any other movie, the worrying and unpleasant “guy next door" feeling seems terribly real. | S1: 4/5 | S2: 4/5 | (15.05.2013)

Watching TV is like being a prospector during the gold rush. Patiently sifting through endless piles of rubble in the hope of finding a golden nugget. Behold, luck smiled upon me in the form of The Fall. This is not a grain of gold, but a proper boulder, which is a great rarity in its pure form. Granted, not everyone will rejoice. Where a regular creator of standard crime stories would have enough material for a feature-length film, Allan Cubitt chooses the path of slow, almost hypnotic storytelling, focusing on every detail and thoroughly mapping the perpetrator's personality. Those accustomed to fast cuts and action must look elsewhere. However, there is no shortage of tension, as evident from the way it is filmed and the knowledge that usually you know more than the characters in the ongoing scene (after all, you have known who the killer is since the very beginning). The series is about catching the criminal, convicting him, and delving into the motives of his twisted mind that led him to such dark ends. Serial killers have often been used in world cinema, frequently and popularly, in the past, but usually only as a shallow attraction from "a haunted funhouse." The results of investigations into real criminal cases, on the other hand, indicate that perpetrators are usually not gifted with higher intelligence or above-average abilities. Neither applies to Paul Spector. He is a cold-blooded player, manipulator, and hunter endowed with rational thinking - but despite the shocking traits of his character, he is realistically written, not another gruesomely entertaining Hannibal Lecter. The killer is confronted by an equally strong and complicated personality in the form of Detective Stella Gibson. Outwardly cold and determined, a professional with exceptional analytical skills, she represents the pinnacle of Gillian Anderson's filmography - the fans of The X-Files can forgive me for that. The Fall is a cleverly constructed, unsettling series about the hell that some carry within themselves and the evil they are capable of spreading. Expertly shot, superbly written, and fantastically performed. A must-watch for genre fans. Overall impression: 95%. (22.02.2019)

Despite a slightly non-addictive beginning, I gradually got hooked to the point that I couldn't tear myself away. Particularly the second season was superb. The creators managed to create great suspense and a grim atmosphere, and most of the performances were excellent, especially Gillian Anderson and John Lynch. I had a great time. It goes to show how a well-written script can do with a single killer without it being boring. I was only afraid of an overly optimistic ending. Fortunately, no such thing happened, so I was completely satisfied. (23.03.2017)

I would have never believed that watching almost simultaneously police investigations of murders and at the same time the killer in action would be so intriguing and suspenseful, even though I know the perpetrator beforehand. The creators only used this approach in two seasons, but even the third one was worth it. It was more psychological and had a significantly slower pace, which incredibly worked in building up the final episode full of aggression and total self-destruction of Paul Spector. The series boasts great performances from almost everyone involved. Focusing on the main characters, Gillian Anderson as the investigator definitely did not disappoint and Jamie Dornan as the killer was absolutely superb. At times I found myself rooting for him to get out of it all, which I don't think has ever happened to me in any crime drama, to sympathize with a negative character like that. He was able to play on a touching note as well, for example, in moments when his expression conveyed that he truly loved his daughter. The Fall is undoubtedly one of the best series I've seen so far. I have to recommend it. (11.03.2020)