La vérité nue

Another great work by Atom Egoyan, based on the novel by Rupert Holmes.

Knowing a little about the plot before seeing the film my big question/concern was "Kevin Bacon"? Going in I just didn't see Bacon in such a roll. But it didn't take long before Egoyan's primary cast selection (including Kevin Bacon, Colin Firth, and Alison Lohman) was clearly calculated and well thought.

Some might call this Egoyan's 'most mainstream' work to date, but it retains many of the qualities we've come to expect from him. The screenplay was precisely developed to provide a great pace to the story, and to provide little 'bits and pieces' of key information just when you need them. It doesn't give the truth away too early, yet when the secret is finally revealed it's accompanied by a sense of "I should have seen that coming".

This film does deal with some 'touchy' cinematic subjects including sex and drug use. What should be truly disturbing is the murder in question, but 'simple' murder is accepted in film without a second thought.

The screening I saw was the 'uncut' version of the film. There has apparently been some controversy surrounding some of the films content, so I don't know whether this is the version the movie-going public will eventually see in mass-market theatres. It contained some pretty graphic sex, but it wasn't gratuitous - it served a purpose in the development of the characters and story. These scenes, while clearly not suitable for a younger audience, belong in this film.

An excellent film, as most have come to expect from Egoyan.

I was engrossed by the premise. Kevin Bacon, Colin Firth and a dead girl in a bathtub. To see Firth and Bacon go through the steps of a sort of Jerry Lewis Dean Martin routine was, in itself, reason enough to see the movie. On top of that, a director like Egoyan. I was hooked but immediately, regrettably unhooked every time Alison Lohman opened her mouth. Who could possibly believe it? That character should exude intelligence other than sensual vibes. Miss Lohman doesn't exude either and makes the whole premise collapse. Imagine a young Jodie Foster or now Natalie Portman or even Rachel McAdams in those shoes. That was a pivotal part The whole believability of the premise depended on her. Because of her performance I saw the cracks in everyone else's performance. So the experience, for me, was a series of exhilarating rushes and disappointing stops. Who said that casting was 90% responsible for the success of a film?. Whoever said it was right. Here the truth lies at the feet of a casting director and of a director for casting.

I saw the movie today at the 2nd showing of the Toronto International Film Festival.... The movie will be released in Canada in the way that I had seen it today, uncensored and uncut.

The scene in question isn't explicit at all, well the part that the MPAA is crying about that implies that one of the characters as being homosexual, there's no full frontal male nudity, a lot of female nudity from Alison Lohman, Rachael Blanchard, and Kristin Adams there is some interaction between Lohman and Adams but it is done tastefully..

So again, if it doesn't get played in your market and you can get to Canada go see the movie....

Egoyan immediately sets the noir tone of 'Where The Truth Lies' by revealing so much yet cleverly not telling anything. The film gets straight to the point right from the start as we are introduced to a Jerry Lewis Dean Martin type entertainment duo, a haunting image of a corpse in a bathtub and a determined young lady wanting to write about her idols. The slick editing allows the film to maintain its steady track. Egoyan finely contrasts the 50s and 70s. The wonderful mise en scene, flashy lighting and score bring out a 50's feel. While the score brings out a lot of mysteriousness of the 70s (the sex and drugs phase). The camera-work deserves mention. Most of the scenes of the 50's scenes were effectively done with long shots, while a lot of the 70's scenes were shot with quick snaps.

Then there's the unusual cast that includes Kevin Bacon, Alison Lohman and Colin Firth. Bacon gives an energetic performance as the younger Lanny Morris of the 50s and he brings a 'lost' maturity as the 70's Morris. While a majority have stated Lohman as being miscast, I found her to have the right combination of naivety, sex appeal and vulnerability as Karen. The actress certainly holds her own in the presence of the more accomplished actors and bravely carries the film. Firth is remarkable and he completely sheds his Darcy image and gives a more restrained (and sometimes explosive, where required) performance as Vince Collins. Rachel Blanchard demonstrates the right kind of deceitful innocence and enigma.

Some have stated the sex scenes to be of a 'cold' nature. However, I didn't see it that way. Sexuality is an integral part of the film and it is hinted that each character sees it differently. Bacon's Morris pays a lot of attention to his sexual partner's eyes and after-sex behaviour. I can't reveal much about the other characters without spilling out spoilers but their views differ. There's the frighteningly erotic love scene between Alice and Karen followed by a distraught look on Lohman's face. The last sex-scene was particularly disturbing as this is the scene that brings out their alternative side.

However, the revelation in the end was a bit of a letdown. Not because of the twist which is clever enough but the motivation behind it would have worked better had more background information been provided. Where The Truth Lies' mainly works because of Egoyan's unique presentation and storytelling, the visual flair, the performances, the score and the stunning combination of all the themes ie, sex, drugs, sexuality, murder, fame (sounds a bit clichéd but it is shown differently).

Egoyan's weakest film, at least since he came to prominence with Exotica. It's actually a somewhat interesting mystery, but it has a lot of flaws. There is a death, possibly a murder, in the hotel suite of two famous comedians (played by Colin Firth and Kevin Bacon), based on Martin and Lewis. That's the film's biggest flaw, that this completely fictional mystery uses Dean Martin and Jerry Lewis as a model. It's very distracting. The bulk of the story has a young journalist (Alison Lohman) writing the story of the two comedians, trying to solve the mystery. The film-making is pretty good, but Egoyan, except for The Sweet Hereafter, has always been a weak director when it comes to actors. Lohman, who was great in Ridley Scott's Matchstick Men, is awful here (she does get naked and have sex with a woman, though, which makes the film almost worth seeing). Kevin Bacon, who gave his best performance ever last year in the still underseen The Woodsman, isn't especially good, either. Only Firth does a good job. The film is also overscored with some very cliché mystery music. Mychael Danna's scores for Exotica and The Sweet Hereafter were brilliant; this one's a flop.