A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.
On the day of his daughter's (Joey Hope Singer) birthday, William "D-Fens" Foster (Michael Douglas) is trying to get to his estranged ex-wife's (Barbara Hershey) house to see his daughter. He has a breakdown and leaves his car in a traffic jam in Los Angeles and decides to walk. Along the way he stops at a convenience store and tries to get some change for a phone call but the owner, Mister Lee (Michael Paul Chan), does not give him change. This destabilizes William who then breaks apart the shop with a baseball bat and goes to an isolated place to drink a coke. Two gangsters (Agustin Rodriguez & Eddie Frias) threaten him and he reacts by hitting them with the bat. D-FENS continues walking and stops at a phone booth. The gangsters hunt him down with their gang and shoot at him but crash their car. William goes nuts and takes their gym bag with weapons proceeding in his journey of rage against injustice. Meanwhile Sergeant Martin Prendergast (Robert Duvall), who is working on his last ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
At the time of its release, Michael Douglas' father Kirk considered this to be his son's best performance. See more »
At the drive-by shooting, the driver turns the wheel to the left to avoid crashing into another car, but the car turns to the right. See more »
Hey. Why are you putting barbed wire on that fence? Is this how you rich people amuse yourselves? You put barbed wire on the fence so innocent people like me can hurt themselves looking in?
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The role of Vondie Curtis-Hall, who plays the man protesting the bank, is credited as "Not Economically Viable Man." See more »
Falling down probably wasn't the best film of it's year and it's not one of the all time greats, but there is a lot of truth in it. In this film, Douglas plays an outdated, irrelevant man who nobody wants to acknowledge. The idea behind this, one that is not directly addressed in the film, is that Douglas is a sentimentalist at heart, and remembers a time and place in America where society was orderly and traditional.
However, by 1993, the world has moved on and Douglas is living in the past. This is the underlying anger that motivates his irrational attacks on symbols of modern economics, elitist values, and racial/sexual insurgents. The movie is instantly relatable and stirring for anyone who has felt left behind.
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