Mentiras inocentes

If you like longing glances into the misty distance, unmotivated yet psychotic incest, and daft police work, you'll love this waste of time and film.

The casting director clearly liked a specific "look" of female. As a result, I spent the first half of the movie just trying to keep the female characters straight. Beautiful women are not enough to save this flimsiest of scripts, however.

I feel cheated. I could've been playing solitaire. It would've been equally fulfilling. Clearly, I do not recommend this movie. I was hoping for so much more from a largely watchable cast.

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.

Is it a war movie? Is it film noir? Is it cheap titillation? A deep exploration of complex and controversial relationships? This film cannot decide what it is and so, as another person noted, must require several viewings in order to make sense. Sadly, it is just not compelling enough to warrant multiple viewings - unlike other films that ARE rich with complex themes and artistic vision.

The actors valiantly try to overcome the morass that is the script - but were probably as annoyed as the rest of us at the myriad loose threads that never tie up.

Adrian Dunbar portrays the frustration of someone tempted and confused by things around him - he must be the avatar for the viewer. Stephen Dorff offers another workmanlike portrayal of your friendly neighborhood rebel without a clue. Gabrielle Anwar, who is usually a fine actor, is stuck with a character whose neuroses become tedious and irritating by the end of the film. Joanna Lumley escapes caricature by a false eyelash and looks luminous in the period fashions. The rest of the cast are superfluous at best and annoying distractions at worst, doing nothing to advance the story. They and the plot lines that involve them do not even qualify as decent red herrings.

The cinematography is lovely - very atmospheric and evocative of the era - as are the costumes and staging.

Unfortunately, Dewolf's grasp at Art exceeded his reach and no amount of plot devices can make this murky movie anything more than a mild diversion. Perhaps the fault lies with the editing - which would explain the subplots that disappear and other senseless oddities. A tighter script, a focused plot, and less cheap titillation would have permitted this talented cast to fully engage the viewer in a riveting mystery flick.

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.

Very good movie even though a bit complicated to follow when seen for the first time. It is one of those movies you need to see at least twice to fully appreciate it. The principal actors, first of all Gabrielle Anwar, and Stephen Dorff, are outstanding. Noteworthy is also Patrick Blossier´= s excellent photography.

Having said that I still think with this highly imaginative and original story at his hands Patrick Dewulf could have done more, simply by concentrating on the main characters. There are too many subplots there that are rather superfluous in that they do not contribute to the main story which is intense enough and need not be pepped up.

But still: An excellent movie! I highly recommend it.