Nonureva Really Surprised!

Platicsco Good story, Not enough for a whole film

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

gopher2112 Can you believe a WWII movie was made for so little money?? I can't. I'm so used to the traditional trite Hollywood epics that are all flash and no flavor. This was an unexpected, (though not entirely palatable), treat. Some of the acting was stilted and the effects a bit too cheaply raw, but the heart was there and it shines though the fog. It takes real guts to portray all sides of such a horrible affair with dignity and respect. Even Spielberg kept at an arms length on this issue.Kudos to the brave soul who made this. I'll keep an eye out for upcoming projects for sure...

lost-in-limbo Set during the dying weeks of World War II, the story follows that of German, Italian and American soldiers in the country outskirts of Northern Italy. At a post the German and Italian soldiers' unity and discipline are at a real low, because they know the outcome of their situation is simply dire and Italians also face the complications of loyalty to their own countrymen when they encounter communist partisans. While a small American supply unit with much needed ammunition tries to reach their front line, but end up walking it after their truck breaks down and along the way succumb to many different obstacles, within themselves and with the enemy. Loud explosions, continuous gunfire, exciting combat and flowing blood in a large grand scale treatment of special effects is something that "The Fallen" isn't. It pretty much reminded me of the sedate style of Terrance Malick's "The Thin Red Line". However this outing doesn't shove in any artiness, languid performances and a sluggish pace, which I thought faulted Malick's film. The lack of action and the meandering presence which eventually leads to nowhere after riding along with these characters might be turn off for some, but Ari Taub's independent war feature is a compelling achievement with a well-devised script balanced out by its offbeat humour and authentic performances from an impressive native cast. Taub has done wonders with the budget he possessed and steers to telling a thoughtful story about the emotional complications facing the men (from to loyalty to probing their own involvement) and the culture barrier separating them. These are everyday characters made more humane by trivial dialogues and grounded morality then some flag waving heroes and evil bad guys going gung-ho. It never gets too sentimental or downtrodden, but still engages with a certain realism and makes you care for their fates. The concern here is for the individuals, not the war they are caught up in. Nick Day and Caio Riberio have really poured a lot effort into their material that comes up as fresh in their illustrative device of not showing the horrific detailed with violence, but letting the dark moody air of desperation and manipulation take hold. The unconventional structure of the story is made up of four different sections (American, German, Italian soldiers and finally the locals of the area) that eventually comes together towards the closing end, after moving kinetically back and forth and their perspective situations are equally encountered for. Despite the familiarity of the story's context, it never falls into generic interruptions, but the direction it heads in offers up some well directed surprises and gripping tension thanks to Taub's neurotically earthy execution. This captures the gripping bitterness and impending doom awaiting them in the senselessness of war. But breaking the ice is its European style, which shines through on the humour front and mellow pacing that takes time to admire the surroundings. The comical moments here can be odd and heavy, but it never took anything away from it. I rather enjoyed those sequences. The pristine locations are beautifully lensed and the musical score is elegantly oozing with miscellany style, which tries to be fitting to the feel of scene. From be it to haunting or gleeful, it blends it rather well. Being pretty much character bound, the performances were important and are extremely good with a convincing rapport. Mainly due to the reason they have them speak their native languages. The likes of Thomas Pohn, Fabio Sartor, John McVay, Daniel Asher, Ruben Pla, Bob Brown and the list goes on were noting but sensational in the performances. But it's the first three names that provided that hearty drive to which the other performances fed off. "The Fallen" is a well-done war story that never tries to draw too much attention to itself by playing to its limits. Its textured direction, inspired story-telling and sufficient performances are high draw cards in this welcoming and ambitious Indie feature.

Heavy74 I rented this film based on my general enthusiasm for movies covering the stark subject of war. This was a very different film than any other WW2 film I've seen, and I think for the better. As we can probably assume with all fairness, not every soldier or unit in Europe during this conflict was fighting at the front. "The Fallen" depicts an several facets of participants toward the close of the war: An American supply unit that generally behaves as if their simply waiting out the war--they know their place (in the rear with the gear) and some of the individuals are even taking advantage of it; A small and reluctant Italian regiment brought in to support a equally small, but cocky German unit; Italian "partisans" who as members of the communist party operate as guerrillas; and Italian civilians, some of whom are a bit shadowy in their activities.The uniqueness of the historical situation in this region during the war provides that distinct difference between this film and others in the genre. It's not one huge battlefield scene after another or a storming the beaches extravaganza. There's no massive divisions. These units are the forgotten groups of soldiers from their respective armies, two of which were in their last days. Their importance in the grand scheme of the war is minor as the story told here is more common.While some characters are a little cliché, others are more unique... particularly toward the second half of the film. They really do develop, change, and become something different than they started as.After watching the special features "making-of" documentary on the DVD, it's amazing the movie ever happened. None of the actors were the professionals you'd expect. Hell, one of them does character work for birthday parties. Another works at a fish market. I strongly suggest anyone who rents this film watches the making-of as you'll have a much greater level of appreciation for what went into the movie.Overall, I thought it was a decent film for what it is. I think you have to take into consideration the level of experience each actor and staff member possessed at the time. This isn't a Hollywood production by any means. But it was indeed an awesome effort by amateurs that does an excellent job of looking far bigger than it was. I have to give the makers and participants of "The Fallen" a lot of credit for their efforts.

noralee "The Fallen" at first seems like an old-fashioned World War II movie, opening with almost "Hogan's Heroes"-like humor with "Milo Minderbinder" of "Catch-22" like wheeling-dealing, but gradually develops into a moving and complex portrait of soldiers. Most English-language films we have seen about GI's interacting with locals have been in French forests, but this is set in the more complex social, political and military environment of northern Italy at the close of the war, dealt with superficially in "Captain Corelli's Mandolin" and almost contemporaneously in Roberto Rossellini's "Paisà", which was also a series of vignettes.The very large ensemble that gets hard to differentiate individually includes Americans closing in on the Germans who are equally allies and occupiers to Italians buffeted by deposed fascists, Communist partisans, displaced peasants and apolitical criminals, an unusually diverse array of characters who all claim to be nationalists.Like a Bill Maudlin cartoon, this is war from the GI's eye view; we don't see generals or hear discussions of strategy or tactics, just orders to follow. The American soldiers, as drawn by the script of Nick Day and Caio Ribeiro, are the most stereotyped from old movies, the hulking hillbilly, the Italian guy from Brooklyn who is delegated to do translations and community relations as the locals eagerly ask if he knows their cousins, the alcoholic officer in charge, etc. In the second half of the film, the Americans' portrayal sharpens up as the supply guys in the quartermaster corps are thrust into the front lines for the first time and there's less dialog and more taut action.The German soldiers are the least stereotyped, despite many close-ups on their black crosses and Heil Hitler salutes. They are shown as professional, competent soldiers doing their job far from home in a crumbling situation, with limited supplies and manpower. Though sounding more like World War I trench movies (and characters on all sides recall relatives who were inspiring veterans), their discussions of the futility of continuing to fight are plausible and add complications to their actions. The Italians are a mix of stereotypes and complexities. The sex-starved peasant women are just plain silly, and the Army, regardless of accurate issues of unpreparedness, looks like buffoons. The Mafiosi-like thug and his henchmen are the usual, but their interactions with the armies are interesting, even if it is never explained how they've avoided the war up to now. The refugees are both as haunted and resilient as "Mother Courage".While far less bloody than "Saving Private Ryan", it is unpredictable what will happen to characters we get to care about and is unsparing in showing the personal devastation of war. Debut feature director Ari Taub does the fight scenes very up close and personal, and very effectively portrays a real sense of actual combat, particularly for a low-budget film.The developing serious tone is undone many times by the melodramatic score which overemphasizes comedic elements of the absurdity of war. Period songs by interesting voices are used effectively throughout. With each nationality speaking in their native tongues, the subtitles are black-lined and always legible. The subtitles are also thoughtfully provided even when characters are speaking English but with thick accents. Language communication issues are a key part of this story.