“The Fall” is audacious to the point that when Variety calls it a “vanity extend,” you can just respect the man sufficiently vain to make it. It recounts a straightforward story with immense sentimental pictures so staggering I needed to check twice, three times, to make sure the film really claims to have positively no PC produced symbolism. None? Shouldn’t something be said about the Labyrinth of Despair, with no exit? The converging dividers of crisscrossing staircases?
The man who rises up out of the consuming tree? Maybe the watchwords are “PC produced.” Perhaps a portion of the pictures are made by more conventional sorts of embellishments.