Falling
MK2
Writer, director and star Viggo Mortensen has taken every single gaff, micro-aggression, controversy and horrific PR for his participation in the Academy Award-winning Green Book – and stored such pain and voice away to unleash in his directorial debut Falling.
Granted, there are moments of missteps throughout, but Mortensen's debut behind the camera is a swirling and poignant tale of a broken family and the effects of dementia. Both stories run parallel: one following a younger version of the Peterson family, of which follows the broken and cracked relationship between not only father and son (Sverrir Gudnason and Etienne Kellici) but the family dynamic itself. The other follows the same dynamic in present-day, following the resulting fallout and evident fatigue of old age on Lance Henriksen's Willis Peterson.
First and foremost, the respective performances of Willis Peterson by Gudnason and Henriksen are stunning. The availability to see such a character grow and succumb to lust, as well as spite in the two respective roles, offers not only a fascinating look into the character but a poignant creation for the audience to bare witness to the tragedy at hand. Both offer bleak and hardened shells that are easily crushed within
While Gudnason takes the more ferocious material – a point that might be contested – Henriksen takes on the more bitter and poignant performance, albeit containing a ramped up xenophobic mentality. Both characters are expertly crafted and performed explorations of toxic masculinity and vulnerability in the male form, cycles of prime and aged insecurity, respectively.
Nevertheless, Mortensen holds his own throughout. Not only as a lead but behind the camera. Mortensen's talent as a performer is unquestionable. His performance here is nothing more than strong. A constantly evolving actor, Mortensen is once again playing against type, and the results are not only interestingly brought to life but make for a warmer and captivating experience considering the contextual relationship the character has with his father.
That being said, it is Mortensen behind the camera that is equally as impressive. There is clearly and unquestionably a passion for the material on offer and having Mortensen enraptured in filmmaking, the effects of working with auteurs and filmmakers of a strong quality have undeniably rubbed off. His choice of camera and length of sequences are both small but intimately crafted elements that work wonders for not only harsh tension but brooding atmosphere
Granted, the film does feel quite repetitive concerning said sequences. Characters are repeatedly found sat down, having difficult and contentious moments. Rinse and repeat, and essentially the film is formed. However, its the gravitas and situation that Mortensen presents in all its morbid difficulty and awkwardness that make for compelling. Aside, what is life but moments of sitting down and talking?
Mortensen does add a little too much-prolonged poignancy and character material in the feature's upmost final moment. One that, on paper, is seemingly irremovable but, in question within the edit, is not only excessive but far too on the nose. A sequence that undoubtedly demands a more thought-provoking and ambiguous statement, specifically when the contextual family dynamic is in question. Nevertheless, this is a small factor of Mortensen's frugality as a director.
Ultimately, Falling is a strong, passionate and compelling first feature from Viggo Mortensen. It is, at times, a repetitive first time out for the esteemed actor, but a profoundly affectionate portrait of a broken family. The ripple affects it projects decades down the line offers multiple outstanding performances: even if the crowning glory, of course, is the standard David Cronenberg cameo that steals the show.
