Devil in the details: A retrospective on ‘Fallen’, writes Shanku Sharma

//Shanku Sharma//

When Fallen was released in 1998, it entered the cinematic landscape quietly, overshadowed by louder thrillers of the era. But for those who discovered it, the film offered something unique—a story that blended supernatural horror with psychological suspense in a way that left a lingering sense of unease. Directed by Gregory Hoblit and starring Denzel Washington, John Goodman, and Donald Sutherland, Fallen has since garnered a reputation as an underrated gem of the 90s.

At its core, Fallen is a detective story wrapped in a supernatural enigma. The film follows Detective John Hobbes (Denzel Washington), a principled cop who recently witnessed the execution of a serial killer, Edgar Reese (Elias Koteas). However, Hobbes’ relief quickly turns into a nightmare when a series of murders bearing Reese’s signature begin again. As Hobbes digs deeper, he uncovers something far more sinister: an ancient demon named Azazel, capable of transferring from one body to another through touch, continuing Reese’s reign of terror.

The film’s plot is a cat-and-mouse game of epic proportions—one that goes beyond the physical world. Hobbes is pitted not just against a mortal enemy, but an immortal force that can be anywhere and anyone. The tension mounts as Hobbes realizes that not even his own friends, family, or strangers around him are safe from Azazel’s possession. It’s this pervasive sense of paranoia that gives Fallen its edge.

From the moment the film begins, Hoblit establishes a tone that is gritty and foreboding. The world of Fallen is one where shadows loom large, and trust is in short supply. Philadelphia’s wintry streets provide the perfect backdrop for a film that feels cold and isolating. The visual style evokes classic noir, with dimly lit streets, haunting silhouettes, and a moody color palette that reinforces the sense of dread.

Adding to the atmosphere is the film’s use of music, particularly the eerie, recurring motif of The Rolling Stones’ “Time Is on My Side.” The song becomes a chilling reminder of Azazel’s taunting presence, a symbol of the demon’s ability to outlast his human adversaries. Each time it plays, it feels like a countdown—an indication that time is, indeed, not on Hobbes’ side.

Denzel Washington delivers a restrained and powerful performance as John Hobbes, grounding the supernatural elements in a human story of morality, faith, and determination. Washington’s portrayal of Hobbes as a man of principle who refuses to give in to fear or despair makes the character relatable and sympathetic, even as he faces an overwhelming force.

John Goodman, as Hobbes’ loyal partner Jonesy, brings warmth and humor to the film, serving as a counterbalance to the bleakness that surrounds them. Donald Sutherland, as Hobbes’ superior, adds gravitas and an air of authority, while Elias Koteas makes a memorable impression as the deranged, gleeful Reese.

But perhaps the most impressive performance comes from the ensemble cast—the various individuals who, for brief moments, become vessels for Azazel. Each actor who takes on the role of the demon manages to convey a chilling, detached malevolence, making it clear that while the faces may change, the evil remains the same.

At its heart, Fallen is a meditation on the nature of evil—how it manifests, how it spreads, and how it can be fought. The film poses difficult questions: Can evil be defeated, or is it simply something that must be endured? What happens when the battle against evil feels unwinnable?

Hobbes’ journey is one of a man grappling with these questions, trying to find meaning in a situation that seems devoid of hope. His struggle against Azazel becomes symbolic of humanity’s eternal struggle against the darker forces of the world. The film doesn’t offer easy answers, and its ambiguous ending leaves viewers with the unsettling realization that some evils may be beyond our control.

While Fallen didn’t make a significant impact at the box office, it has since found a dedicated fanbase, particularly among those who appreciate slow-burn thrillers with a supernatural twist. The film’s blend of horror, detective noir, and philosophical inquiry gives it a timeless quality, one that resonates even in today’s more fast-paced cinematic landscape.

The film also stands out for its refusal to conform to genre conventions. In a decade filled with flashy action thrillers, Fallen took a quieter, more cerebral approach, and in doing so, it created a story that lingers long after the credits roll. It’s a film that invites repeat viewings, as each time, the viewer notices new details—whether it’s a subtle performance choice, a piece of visual symbolism, or an eerie musical cue.

In the end, Fallen is a film that reminds us that evil is not always something that can be easily identified or defeated. Sometimes, it’s just something that must be faced, no matter the cost. And in that sense, Fallen is a haunting reflection of the human condition—fragile, uncertain, but always striving for something better.