A vibrant mixture of lucid images and ambiguous subtexts, “The Fall” by Tarsem is a free descent from reality into the domain of impossible. Having spent a fortune to film it, Tarsem has produced a movie that calls for watching it because of its sheer existence. Being a postmodernist story within a story, today, the movie can become the epitome of storytelling that invokes a synesthetic perception of irrationality and haphazard symbols making up a perfectly logical picture towards the end. The master storyteller here is Roy, a paralyzed stunt performer, telling a story to Alexandria, a child of Hispanic origin, whose house was devastated by the war. The girl’s imagination visualizes the story, picturing people around her as characters. While Roy is being quite friendly, he tries to earn Alexandria’s loyalty to get her to steal morphine pills for him so that he could end his life. The reason being, his loved one has abandoned him for the actor he was deputizing. Eventually, the girl slides into the pharmacy to get the pills but falls and hurts her head. Later, Roy comes to see her and she talks him into continuing his story (Sony Pictures Home Entertainment). The plot summarized without the inner story in it appears somewhat bland. However, it would be wrong to argue that this movie does not have any drama. Roy the storyteller discloses himself as quite a complex personality when one realizes that each of the characters he summons to life in his story represents a part of himself. His psyche is crumbling and his feelings are too overwhelming to stay within his mind – which is why he creates the Bandit, Otto, the Indian, Charles Darwin, and Luigi to contain them. The Bandit, for one, is the perfect Roy, the one he would like to be. Otto, the runaway slave, is a depiction of Roy’s distress with his physical condition and his desire to escape. The Indian had his loved one taken away from him just like Roy; this character is his devastation and loneliness. Luigi, the destructor, is the illustration of Roy’s desire to end his life. It is noticeable that Luigi’s explosives never work up to the end, which demonstrate Roy’s frustration at his inability to kill himself. Charles Darwin is a significant figure here. The only one who does not carry a weapon, the contemplator and the peacemaker, Darwin is the voice of reason and clear mind. When other characters are on the point of either explosion or murder, he is the one who comes up with rational ideas. More importantly, he is the first one to die when Roy starts to get rid of the characters. Desperate and broken, Roy has to silence the still small voice that belonged to his conscience and common sense. Charles Darwin is the one that the viewer sympathises with and hopes that, in the end, intelligence wins. As said, there is a plethora of symbols in the movie. Teeth, for one, are a symbol of power and strength. When the Mystic appears, we notice that she has all her teeth while in reality, Alexandria has just lost her baby teeth. Animals have a great part in the movie as well. Butterflies, for one, might be regarded as the image of the soul. Trapped in the Butterfly island, the characters represent souls with their backs to the wall, inevitably