Chaos Without Energy

“I wanted chaos without energy.”

That’s the challenge director Tarsem Singh set himself when crafting the opening titles of his 2006 film, The Fall. And it’s one that he gloriously, unforgetably overcame.

I wrote about the film a number of years ago — Short Version: It’s fantastic and weird and shockingly violent and wonderfully childlike, all at the same time — and I’ve definitely mentioned the title sequence in the past. It’s the sort of thing that sticks in one’s mind, especially visually.

Now, thanks to one of my favorite sites, the aptly-named “Art of the Title,” I’ve got more to offer than just my enthusiasm and the video embedded above. Now, I’ve got commentary, and my beloved Man Behind the Curtain moment!

The opening title sequence for Tarsem’s The Fall is the perfect example of a director’s absolute control over his vision. To view it after seeing the film is a gift; a rare and beautiful thing. Surreal, extravagant, and a world singularly Tarsem. What is it to sense things in such a way? Scored to Beethoven’s Symphony No. 7 In A Major, Op. 92 (2-Allegretto), the visuals hit their money notes in quick succession. The bridge becomes a stage and the caballus curtain rises as the sequence concludes. It is a dream, and we are Dorothy, remembering the players.

More HERE, and highly, highly recommended. In addition to a great little audio clip featuring Tarsem himself, the site has a long and fascinating discussion with “the film’s logo designer and typographer Stefan Bucher at 344 Design,” who has subsequently worked on a number of projects with Mr. Singh. (After watching that sequence, is it really any surprise that they’ve become regular collaborators? It’s practically perfect in every way.)