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Studio, in Burbank , as the riots continued. By May 4, when the crew intended to resume in Pasadena , initial requests to do so were denied, causing delays. In an interview less than a week before Falling Down ' s release, screenwriter Ebbe Roe Smith gave his interpretation of what the movie was about.
For both of them, it's adjust-or-die time Foster's signature haircut was the idea of Joel Schumacher and the movie's hairstylist Lynda Gurasich. Douglas commented on how it helped him get into the character of a veteran of the military or defense industry, "It gave me the feeling of the late 50s and the early 60s, and somehow my character you kinda have the feeling that he came from another time, or he wished or he hoped for another time when things made sense.
We won the war , where's it all at? It took the top spot in United States domestic box office totals in its first two weeks of release February 26—28 and March 5—7, Falling Down pushed the previous top movie, Groundhog Day , into the second place box-office spot for both those weeks. Contemporary reviews for the film were generally positive. Vincent Canby of The New York Times called it "the most interesting, all-out commercial American film of the year to date, and one that will function much like a Rorschach test to expose the secrets of those who watch it.
Roger Ebert , who gave the film a positive review at the time of its release, wrote:. Some will even find it racist because the targets of the film's hero are African-American, Latino and Korean - with a few whites thrown in for balance. Both of these approaches represent a facile reading of the film, which is actually about a great sadness which turns into madness, and which can afflict anyone who is told, after many years of hard work, that he is unnecessary and irrelevant What is fascinating about the Douglas character, as written and played, is the core of sadness in his soul. Yes, by the time we meet him, he has gone over the edge.
But there is no exhilaration in his rampage, no release. He seems weary and confused, and in his actions he unconsciously follows scripts that he may have learned from the movies, or on the news, where other frustrated misfits vent their rage on innocent bystanders.
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The Washington Post writer Hal Hinson observed:. This guy is you, the movie suggests, and if not you exactly, then maybe the guy you're one or two bad breaks from becoming. At one time or another, we've all thought these thoughts, and so when this downtrodden, laid-off, teed-off L.
But in Falling Down , he and Schumacher want to have their cake and eat it too; they want him to be a hero and a villain, and it just won't work. Peter Travers of Rolling Stone gave the film four stars out of five, writing:.
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There's no denying the power of the tale or of Douglas's riveting performance - his best and riskiest since Wall Street. Douglas neither demonizes nor canonizes this flawed character. Marching across a violent urban landscape toward an illusory home, this shattered Everyman is never less than real Douglas speaks the line with a searing poignancy that illuminates uncomfortable truths without excusing the character. Schumacher could have exploited those tabloid headlines about solid citizens going berserk.
Instead, the timely, gripping Falling Down puts a human face on a cold statistic and then dares us to look away. At the time of its release Douglas's father, actor Kirk Douglas , declared "He played it brilliantly. I think it is his best piece of work to date. He is the villain and the victim.
Of course, we see many elements of our society that contributed to his madness. We even pity him.
But the movie never condones his actions. In , Tasha Robinson of The A. Club was critical of the '90s film "that most stands out for me from that era, because it's such a ham-handed, wrong-headed, self-congratulatory attempt to encapsulate its era's spirit". Robinson added "the film treats virtually everyone around him [D-FENS] as worthless, and presents his violence as the comedic payoff, turns it into a tone-deaf, self-pitying lament about the terrible persecution facing the oppressed majority in an era of political correctness and increasing multiculturalism. On the 25th anniversary of the film's release, film critic April Wolfe of LA Weekly wrote that it "remains one of Hollywood's most overt yet morally complex depictions of the modern white-victimization narrative, one both adored and reviled by the extreme right".
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Wolfe said "Today, we might see D-Fens and the white supremacist as the infighting sides of the far right — one couches racism in coded words like "thug," while the other wants an outright ethnic cleanse. Ultimately, what both want is to return to their idea of a purer America, unburdened by the concerns of minorities and women".