In an era where categorization is king and every movie is neatly slotted into a specific genre, stands a film that defies easy classification. In a digital age where content is abundant and tastes are catered to with algorithmic precision, ‘Anatomy of a Fall’ emerges as a unique outlier that not only blurs the lines of genre but challenges the expectations that accompany them.
We are creatures of habit, and as such, we seek out the familiar. Movies are no exception, with genres acting as signposts to guide audience preferences. Whether you’re a devotee of romantic comedies or a connoisseur of epic historical drama, these labels often dictate your cinematic diet. However, every so often a film like ‘Anatomy of a Fall’ surfaces, steadfastly resisting pigeonholing.
Labelled as a French legal drama, ‘Anatomy of a Fall’ has earned commendations including a nomination for Best Picture at the Academy Awards. Directed by the visionary Justine Triet and penned alongside Arthur Harari, the film skirts around what one typically perceives when thinking of a legal drama. It evokes memories of courtroom giants such as ‘To Kill a Mockingbird’, ’12 Angry Men’, and ‘Witness for the Prosecution’, as well as contemporary classics like ‘A Few Good Men’ with its iconic Jack Nicholson performance, and ‘The Devil’s Advocate’, wherein Al Pacino’s portrayal of the devil left a lasting imprint on audiences.
Emblazoned in the annals of Oscar history are numerous legal dramas. Notable among them is Julia Roberts’ Academy Award for her role in ‘Erin Brockovich’, and George Clooney’s nomination for ‘Michael Clayton’. ‘Anatomy of a Fall’ also draws comparison to the quintessential courtroom drama where the dogged lawyer uncovers the truth, reminiscent of the Perry Mason series. These films bank on the courtroom setting to weave suspense and unveil key dramatic revelations, often underscored by intense cross-examinations and theatrical monologues.
Yet, ‘Anatomy of a Fall’ transcends its genre. Set against the backdrop of a snow-draped chalet in Grenoble, the film begins with the mysterious demise of university professor Samuel Maleski, portrayed by Samuel Theis. His death—a result of a fall from an attic window—triggers a whirlwind of speculation. Suicide, accident, or foul play? The plot thickens when Maleski’s wife, Sandra Voyter, played by Sandra Hüller, is accused based on evidence of a quarrelsome recording.
A marriage cannot be unraveled by a single recorded argument, the film proposes. As the narrative unfolds, layers of the couple’s complex relationship are peeled back, revealing the strains of professional jealousy, infidelity, and blame for a tragic accident that led to their son Daniel’s visual impairment.
Triet skillfully utilizes the courtroom, devoid of the stereotypical gavel-pounding judge, as a platform to deconstruct a relationship, invoking the emotional battleground witnessed in ‘Kramer vs. Kramer’. Additionally, literary elements are woven into the fabric of the story, with accusations of plagiarism leveled against Sandra, reflecting an intertwining of art and life that mirrors dynamics seen in ‘Trumbo’ and ‘Misery’.
Another Best Picture nominee, ‘American Fiction’, explores the dilemma of artistic integrity through its character Monk Ellison (Jeffrey Wright), whose satirical novel unintentionally becomes a bestseller.
Not to be overshadowed within the film is the presence of Messi, the blue-eyed border collie who won the Palm Dog award at Cannes for his portrayal of Snoop, Daniel’s guide dog. Messi’s role as the faithful canine harks back to films like ‘What Just Happened’, where a dog’s fate is a pivotal plot point.
In essence, ‘Anatomy of a Fall’ is a testament to the elusive nature of truth and emotion, stubbornly resisting confinement within the boundaries of a single genre. It’s a cinematic journey that, like life, weaves a narrative refusing to be neatly boxed or labeled, resonating with the unpredictable and multifaceted human experience.
