Popularity: 4 (history)
Director: | Joel Schumacher |
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Writer: | Ebbe Roe Smith |
Staring: |
An ordinary man frustrated with the various flaws he sees in society begins to psychotically and violently lash out against them. | |
Release Date: | Feb 26, 1993 |
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Director: | Joel Schumacher |
Writer: | Ebbe Roe Smith |
Genres: | Drama, Crime, Thriller |
Keywords | detective, rocket launcher, traffic jam, retirement, gang, los angeles, california, divorce, anger, inequality, road rage, urban decay, laid off, disturbed, unassuming, price gouging |
Production Companies | Warner Bros. Pictures, Le Studio Canal+, Regency Enterprises, Alcor Films, Arnold Kopelson Productions |
Box Office |
Revenue: $40,903,593
Budget: $25,000,000 |
Updates |
Updated: Feb 01, 2025 (Update) Entered: Apr 13, 2024 |
Name | Character |
---|---|
Michael Douglas | D-Fens |
Robert Duvall | Prendergast |
Barbara Hershey | Beth |
Rachel Ticotin | Sandra |
Tuesday Weld | Mrs. Prendergast |
Frederic Forrest | Surplus Store Owner |
Lois Smith | D-Fens' Mother |
Joey Singer | Adele (Beth's Child) |
Ebbe Roe Smith | Guy on Freeway |
Michael Paul Chan | Mr. Lee |
Raymond J. Barry | Captain Yardley |
D.W. Moffett | Detective Lydecker |
Steve Park | Detective Brian |
Kimberly Scott | Detective Jones |
James Keane | Detective Keene |
Macon McCalman | Detective Graham |
Richard Montoya | Detective Sanchez |
Bruce Beatty | Police Clerk |
Matthew Saks | Officer at Station |
Agustin Rodriguez | Gang Member One |
Eddie Frias | Gang Member Two |
Pat Romano | Gang Member Three |
Julian Scott Urena | Gang Member Four |
Karina Arroyave | Angie |
Irene Olga López | Angie's Mother |
Benjamin Mouton | Uniformed Officer at Beth's |
Dean Hallo | Uniformed Officer's Partner |
James Morrison | Construction Sign Man by Bus Stop |
John Fleck | Steady Guy in Park |
Brent Hinkley | Rick (Whammyburger) |
Dedee Pfeiffer | Sheila (Whammyburger) |
Carole Androsky | Woman Who Throws Up (Whammyburger) |
Margaret Medina | Lita the Waitress |
Vondie Curtis-Hall | Not Economically Viable Man |
Mark Frank | Annoying Man at Phone Booth |
Peter Radon | First Gay Man |
Spencer Rochfort | Second Gay Man |
Carole Ita White | Second Officer at Beth's |
Russell Curry | Second Officer's Partner |
John Fink | Guy Behind Woman Driver |
Jack Kehoe | Street Worker |
Valentino D. Harrison | Kid (with Missile Launcher) |
Jack Betts | Frank (Golfer) |
Al Mancini | Jim (Golfer) |
John Diehl | Dad (Back Yard Party) |
Amy Morton | Mom (Back Yard Party) |
Abbey Barthel | Trina (Back Yard Party) |
Susie Singer Carter | Suzie the Stripper |
Wayne Duvall | Paramedic |
Valisha Jean Malin | Prendergast's Daughter |
Name | Job |
---|---|
Joel Schumacher | Director |
Andrzej Bartkowiak | Director of Photography |
Ebbe Roe Smith | Writer |
Paul Hirsch | Editor |
Marlene Stewart | Costume Design |
Jeff Imada | Stunts |
Henry Kingi | Stunts |
Steven Lambert | Stunts |
Steve M. Davison | Stunts |
Richie Gaona | Stunts |
Armando Guerrero | Stunts |
Norman Howell | Stunts |
John Roesch | Foley Artist |
Michael Runyard | Stunt Coordinator, Stunts |
Steve Boyum | Stunts |
Gary Combs | Stunts |
John C. Meier | Stunts |
Manny Perry | Stunts |
Gilbert Rosales | Stunts |
Thomas Rosales Jr. | Stunts |
Charles L. Campbell | Supervising Sound Editor |
Alicia Stevenson | Foley Artist |
James Newton Howard | Original Music Composer |
Danny Epper | Stunts |
Gary McLarty | Stunts |
Marion Dougherty | Casting |
Cricket Rowland | Set Decoration |
Stephen Abrums | Makeup Artist |
Lynda Gurasich | Hairstylist |
Bobby Bass | Stunts |
Barbara Ling | Production Design |
Larry Fulton | Art Direction |
Tom Lucas | Makeup Artist |
William S. Beasley | Unit Production Manager |
Mike De Luna | Stunts |
Scott Dockstader | Stunts |
Ronnie Rondell Jr. | Stunts |
Stephen P. Dunn | First Assistant Director |
Nancy Hopton | Script Supervisor |
Richard F. Mays | Assistant Art Director |
Brad Ricker | Set Designer |
Lisa W. Strout | Assistant Location Manager |
Silvio Scarano | Costume Supervisor |
Fran Allgood | Costumer |
Linda L. Meltzer | Costumer |
J. Michael Muro | Steadicam Operator |
Steve Bowerman | Boom Operator |
Peter Davidian | Assistant Chief Lighting Technician |
Mark Mele | Rigging Gaffer |
Jeff Kluttz | Best Boy Grip |
Chuck Brown | Dolly Grip |
Bob Stoker | Special Effects |
Lucinda Strub | Special Effects |
Rick Howe | Assistant Editor |
Shawn Murphy | Scoring Mixer |
Louis L. Edemann | Supervising Sound Editor |
Nils C. Jensen | Sound Editor |
Doug Jackson | Sound Editor |
Jerry Edemann | Assistant Sound Editor |
Tom E. Dahl | Sound Re-Recording Mixer |
Larry Singer | Supervising ADR Editor |
Anne S. Reilly | Unit Publicist |
Eric Mansker | Stunts |
Tommy J. Huff | Stunts |
Dennis Capps | Second Assistant Director |
David Fudge | Second Second Assistant Director |
Jann K. Engel | Set Designer |
Antoinette Levine | Location Manager |
Darrin Lipscomb | Assistant Location Manager |
Colby P. Bart | Costumer |
Alan Martin | Costumer |
William A. Petrotta | Property Master |
Christine M. Loss | Still Photographer |
Chris Strong | Chief Lighting Technician |
Stanley L. Gonsales | Assistant Chief Lighting Technician |
Chris Centrella | Key Grip |
Scott Gillis | Best Boy Grip |
Matt Sweeney | Special Effects Coordinator |
Jim Schwalm | Special Effects |
Melissa Bretherton | First Assistant Editor |
Jim Weidman | Music Editor |
Richard C. Franklin | Sound Editor |
Chuck Neely | Sound Editor |
Angie Luckey | Assistant Sound Editor |
Wayne Artman | Sound Re-Recording Mixer |
Robert Schaper | Sound Re-Recording Mixer |
Andrea Horta | ADR Editor |
Ronna Kress | Casting Assistant |
Francis N. 'Lucky' Costello | Standby Painter |
Arthur Riddle | Construction Foreman |
Lee Willis | Transportation Captain |
Maria Norman | Executive Assistant |
John H. Samson | Construction Coordinator |
Keith Dillin | Transportation Coordinator |
Dick Ziker | Stunts |
Name | Title |
---|---|
Ebbe Roe Smith | Associate Producer |
Arnon Milchan | Executive Producer |
Timothy Harris | Producer |
Herschel Weingrod | Producer |
Stephen Joel Brown | Co-Producer |
Dan Kolsrud | Co-Producer |
Arnold Kopelson | Producer |
William S. Beasley | Associate Producer |
Nana Greenwald | Co-Producer |
John J. Tomko | Associate Producer |
Organization | Category | Person | |
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SAG Awards | Best Actress | Michael Douglas | Nominated |
Popularity History
Year | Month | Avg | Max | Min |
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2024 | 4 | 38 | 47 | 25 |
2024 | 5 | 41 | 65 | 25 |
2024 | 6 | 36 | 63 | 26 |
2024 | 7 | 38 | 62 | 25 |
2024 | 8 | 37 | 70 | 21 |
2024 | 9 | 26 | 33 | 17 |
2024 | 10 | 33 | 65 | 18 |
2024 | 11 | 32 | 60 | 19 |
2024 | 12 | 26 | 34 | 17 |
2025 | 1 | 31 | 55 | 21 |
2025 | 2 | 20 | 38 | 4 |
2025 | 3 | 11 | 28 | 2 |
2025 | 4 | 7 | 14 | 3 |
2025 | 5 | 6 | 14 | 4 |
2025 | 6 | 5 | 8 | 3 |
2025 | 7 | 4 | 5 | 3 |
2025 | 8 | 3 | 4 | 3 |
Trending Position
Year | Month | High | Avg |
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2025 | 8 | 655 | 841 |
Year | Month | High | Avg |
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2025 | 7 | 284 | 715 |
Year | Month | High | Avg |
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2025 | 6 | 399 | 792 |
Year | Month | High | Avg |
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2025 | 5 | 436 | 721 |
Year | Month | High | Avg |
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2025 | 4 | 527 | 766 |
Year | Month | High | Avg |
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2025 | 3 | 409 | 736 |
Year | Month | High | Avg |
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2025 | 2 | 317 | 630 |
Year | Month | High | Avg |
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2025 | 1 | 510 | 797 |
Year | Month | High | Avg |
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2024 | 12 | 405 | 783 |
Year | Month | High | Avg |
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2024 | 11 | 320 | 789 |
Year | Month | High | Avg |
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2024 | 10 | 988 | 988 |
Year | Month | High | Avg |
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2024 | 9 | 355 | 592 |
Year | Month | High | Avg |
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2024 | 8 | 922 | 922 |
Having just watched this movie I can say that I enjoyed it, not overly so. Its not really a tale of urban reality more that the everyday annoyances that we do nothing about and this guy turns them into a personal insult. Its starts normally enough, stuck in traffic, beep noises and drilling on a hot ... day, his AC is broken, the window is broken. Instead of just shrugging it off with that Monday feeling he just abandons his car and goes for a walk, to start with its a shop owner with overpriced drinks that gets his shop smashed up a bit, later only when threatened with violence himself does he defend himself against 2 gang members. This is where things start to suddenly go weird, the gang members drive round and stumble across him somehow, (I'm British but I think LA is a little too big for that) then spray bullets in a drive by 20ft away and miss him completely but hit everyone around him and then they promptly crash. He walks over to the car, collects a bag of guns from it then goes and shoots up a burger bar because they are not serving breakfast, which he then changes his mind to lunch anyway and it continues from there. I don't know if this was meant to show some sort of mental brakedown due to his previous life choices but his empathy just disappears. At the start you could relate to the character but the more you watch the more you begin to distance yourself from that notion until you realise you just watched a movie where a guy went round killing people for no reason other than anger at himself for destroying his family life. It leaves me wondering if that was the directors intention or a happy coincidence to push that prospective on the viewer.
## Not about the guy This movie isn't about the main character, William 'D-Fens' Foster. He does some crazy things and I guess that what some people remember, but if you really watch the movie you see that it puts society's erosion of the U.S. "normal guy" on display. People who "do everything r ... ight": get a degree, marry, make babies, work for a corporation. They feel disillusioned, cheated out of the promise of the American dream. Class divides, racism, toxic masculinity, coroporate greed, urban decay, breakdown of interpersonal connections and flat, sloppy hamburgers that look nothing like the picture on the menu. They are all present in Joel Schumacher's chronicle of the late 80's and early 90's. Even the inaction of police under the strain of declining budgets. His ex-wife that dodged a bullet by getting out before D-Fens got violent, is almost ridiculed for being oversensitve, instead of rewarded for her insight and protective instincts. There are so many things we can see through D-Fens' interactions, but also his wife and the excellent portrail of Prendergast by Robert Duval. In essence, Falling Down is less about D-Fens as an individual and more about the society that shaped him and countless others like him, not coming to terms with the weight of systemic failures. It’s a film that leaves viewers with questions rather than answers. Even decades later people will recognise themselves in the characters, the neighbourhoods and the way they navigate life in the shadow of the American dream.