Mentiras inocentes

I am a passionate lover of movies and actors. American, foreign, documentaries, independent- all kinds of movies. I usually try to find the silver lining in every movie I watch. Hard work and risk taking deserve at least that much from a viewer. This movie was very irritating to watch. It didn't even follow it's own plot. It would pick up and drop story lines randomly without any logic. Relationships were contrived, some to shock, some for lack of better ideas. Acting was not very inspired, it's hard to see how could it possibly be with this script. It was messy, unfinished and irritating. So much for silver lining on this one.

I tend to like movies like this one- quiet, destined to be seen on TV late at night after some red wine to quench insomnia. Yeah... some called it a bore, but so was Mansfield Park...to an extent. it's been quite a while since I have seen it and the details are a bit fuzzy, but if a movie of its rank made it in the realm of my daily wanderings, then it has to have at least one quality. Maybe I liked the setting,the cold morning air-the blue air that conveys darkness and mystery to most Poirot series or the landscapist pov it offered at times just to be changed with the eye of a mute detective at others. I almost liked those, but not quite. Being very fond of art, this movie reminded me of Tamara de Lempicka's paintings: very art deco, showing us more than just a glimpse of the 30s aristocracy, very daring without excelling in creativity. just that. the ending was unsurprising,not really a letdown but the deranged late 30s atmosphere, the uncontrollable animalism depicted in different character liaisons saved it.

I believe Towards Zero to be one of Christie's best and when I read there was an adaptation that her usually quite tolerant estate had declined any involvement with (an extremely rare occurrence to the chagrin of some Christie purists), I went out to search for it.

The setting is both beautiful and poignant. An Art Deco Villa on a clifftop in 1938 France, undercurrents of the coming war rippling even through the lives of the well-off family at the centre of the story.

British detective Adrian Dunbar, along with his small daughter, visits to bury his old friend, a fellow cop, who apparently and very suddenly has committed suicide. It appears said cop came to investigate the death of a young member of the aptly named Graves family many years ago and never left. What his relationship with the Graves' exactly entailed we never find out (the matriarch insists they had an affair, but her word is as good as anyone else's in this movie, which is no good at all). I guess it would count as a spoiler if there was anything to spoil, that we also never find out what happened to him.

Two things are quite clear from the start. The slimy Oxford student son Jeremy is the most likely suspect and his relationship with his sister is not sisterly in the least. Again, no surprises will reveal themselves on either account.

The hard boiled detective naturally falls immediately under the spell of the beautiful daughter Celia and risks his career to help her escape - from what exactly, not even she herself seems to know. Numerous other storylines are woven (and mostly dropped without any resolution). Various females are upset with the detective, but since they won't tell him why, the film also doesn't care any longer. Motives of anyone are foggy at best and often change from scene to scene. Some sequences are almost Lynchian in their absurdity and their lack of any connection to the plot, but feel much more accidental. The most consistent part is the camera following around young Celia to expose her body from every angle possible.

The ending scene wakes memories rather more of Dial M for Murder than Towards Zero, but I doubt either would like to be associated with this film. In fact, despite some effort, I could find no traces of the intricate plot Christie had woven for Towards Zero. No perfect alibi, no sinister end goal, no double bluff. Instead we get to see Gabrille Anwar's breasts under a variety of semi-translucent fabrics. I guess that counts for something.

....as Visconti showed it in a work such as "la cadeti dei degli" (1969) demands much more than "Innocent lies" 's director can do.Outside the brother and the sister ,and the cop (who is humming twice bribes of the old Irish tune "Carrickfergus" ;the connection with the movie escapes me,I am afraid),the other characters are only silhouettes and you have a feeling that some essential scenes are lacking ,for this a relatively short movie all the same (barely 90 min).Some subplots ,such as the first cop's investigation and suicide are only skimmed over.Ditto for the Jewish wife's scene.As for the incestuous sister's unfortunate fiancé ,he has two or three lines to say and that's it.

The users were harsh when they rated the movie and I can sadly find little fault with that.

This film goes into areas that most others are afraid to enter and really makes the best of a great story line. It also has a cast of fantastic actors who play their roles with the right amount of mystique and venomous betrayal. I loved the character of Jeremy, he was well-played and had an amazing level of complexity. He's a completely despicable person, but you can't help but to be drawn to the cunning and disregardful nature of his character. The young lady playing Jeremy's sister is also very believable in her role as the childish, and incestuous girl who can't quite bring herself to get away from her brother. The whole movie is a work of art, and very well done.

You need to understand the times. Frightened by communist spread, many in Europe turned to Nazis for help in fighting the menace especially the wealthy. In 1938, into this milieu, a British detective, played by Adrian Dunbar, seeks to find how a friend had died. The only clue he has leads to the Graves, an English family living in France. The mother is pro Nazi. Two of the siblings seem possibly be in an incestuous relationship. Another sibling had been slain in an accident years before. This "accident" leads to blackmail and incest. This may be what the deceased friend had discovered that lead to his death.

Stephen Dorff and Gabrielle Anwar play the nearly-grown siblings. Anwar is at the peak of attractiveness. I usually hate to see girls who look like their lips have been smashed by a brick but in this one case I make an exception. She seems to want out of the relationship but can't resist Dorff's touch, even on the eve of her wedding. More murders occur as Dunbar seems about to break the case. But he, too, is under Anwar's spell. He wants to help her escape, when Dorff shows up again. I don't want to spoil it. The photography is marvelous. The music fits the scene. A enchanting look at pre-war France. And I'm sure if Hitler had seen the mother's taste in art, he'd have had her shot. I recommend it to anyone who loves crime and drama, as well as good acting.

Overall rating: 7 out of 10.