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Gillian Anderson’s Tense, Don’t-Miss Netflix Series, ‘The Fall’ (Review)

Gillian Anderson's Tense, Don't-Miss Netflix Series, 'The Fall' (Review)

Early in her enthralling new series The Fall, Gillian Anderson — as a detective named Stella Gibson — 
indulges in what she calls a “sweet night,” a concept she has borrowed
from an African tribe. A woman asks a man to her bed for the night, knowing
she’ll kick him out for good in the morning. Of course it’s a lot harder to
escape a sweet night without repercussions if you’re a London detective in
Belfast searching for the serial killer of young professional women.

 We know where she
can find the killer because we’ve seen him from the start: he’s a handsome
young family man and grief counselor named Paul Spector (played by Jamie Dornan,
who’s also the Sherriff on ABC’s Once
Upon a Time
).

 This fantastically creepy thriller is shaped by Gibson’s
feminism, which becomes less of an underpinning and more overtly announced as
the series goes on. That combination of elements — the sheer fearfulness of
watching the killer in action and Gibson’s development as a heroine — makes
the series smarter and richer than any ordinary detective show. The five
episodes of The Fall premiered in the U.S. and are streaming on Netflix, and
although it has gotten less attention than high-profile originals like House of Cards and Arrested Development, this BBC-made series is the kind of addition
that makes Netflix an indispensable source for the best television around.

 Dornan is both horrifying and sinister as Paul, whom we see
as the loving Dad with his small children, and also stalking, raping and murdering
young brunette women with high-powered jobs as architects or lawyers. Jakob
Verbruggen’s taut direction maximizes the tension; at one point the police are on
the street leaving a message on the struggling victim’s voicemail during an
attack.

 Gibson is tough, smart, no-nonsense; she’s also a single
woman in a male-dominated profession, and unapologetic about her sexual allure.
At times Gibson announces the series’ themes too bluntly, but Anderson’s
delivery is always as sharp as her features. 
As she says to a male colleague who has learned about her sweet night
with another detective: “Man fucks woman, OK. Woman fucks man —  that’s not
so comfortable for you.”

 The supporting cast is terrific, including John Lynch as
Gibson’s superior officer and former (married, naturally) flame. And the series
is unusual in its range of clearly-defined women characters.  Archie Panjabi plays a pathologist (slightly
softer than her role as Kalinda on The
Good Wife
), Niamh McGrady is a young lesbian police officer who becomes
Gibson’s right-hand in the investigation, and Bronagh Waugh plays Spector’s
wife, Sally, a neo-natal nurse and working mother made to look unglamorous — a few extra pounds, practical pulled-back hair — especially
next to Gibson and Spector’s polished, svelte victims. The series doesn’t call
attention to that, but it’s no accident of costume or casting; Sally represents
Paul’s desperate attempt at an ordinary life.     

 The Fall was created
and written by Allan Cubitt, who worked on the British Prime Suspect and wrote the film The Boys Are Back. (When I interviewed Clive Owen recently, he
mentioned that film as the one he wished more people had seen.)  It has just been announced that The Fall will have a second season,
which is hinted at and set up as episode five ends . . . . mysteriously.   

 Here’s a good way to watch: an episode or two of The Fall, followed by a palate-cleansing
episode of Arrested Development. You
may want something light and funny to wash the creepiness away. 

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