Brilliant Lies

I did this play in 2000 here in New Zealand and had a great time.

Cast as Paul Connor, I got a chance to play a very different role to what i had been used to. I had not seen or heard of the movie before doing the play, so had no idea how different my portrayal of Paul was to the movie.

I chose to play Paul as a beaten down, almost wimpy character that had been endlessly picked on by his sisters when he was growing up, then to be stuck with his 'Christian' wife only added to the torment inflicted on him by his sisters.

As I said, I had immense fun with this play and as a result earned rave reviews from my direction who said I captured the essence of Paul magnificently.

I would love to direct this play one day as I believe the subject matter is timeless.

David Williamson has written some very good plays, but even the best of them can't be removed from the stage without wilting. This is not one of the best of them.

To be honest, it feels as though it's been cranked out. "Let me write a play (or script) about ..." Williamson thinks for a moment, fixes on "workplace sexual harassment", starts banging away that very instant at the typewriter, sticks to the scenic formula that's worked so well in the past, throws in a revelation of some kind every few pages, and it's done. The result is not at all brilliant. (Nor are the lies brilliant. Don't expect Baron Münchhausen, is all I'm saying.) Even so, it probably works well enough on stage.

But it's not on stage and it flat as a lilypad. Michael Veitch plays the part of the family Christian who no-one takes seriously in a manner that might also work on stage, but which is embarrassingly cartoony here. (It's possible to count and catalogue his mannerisms.) Principle leads are competent but don't shine. Direction is leaden. Now and then the action moves out of doors or down the corridor - as if that could possibly help matters.

If I were to say that it's boring I might mislead you. Williamson's craft ensures that it's not at all likely to induce sleep, and it's possibly worth watching as a way of passing an hour and a half; but any other film at all, provided it's one that's not positively bad, would serve just as well.

Very cliched, flat drama shows all its stagy origins while making you wonder how it ever hung together as a theatrical piece - nothing is subtle or implied; it all sits out in the open, almost instantly superficial and unnuanced (despite the ambiguity surrounding the ultimate truth of the case), and shot in a flat way that does nothing to elevate it. Carides' performance is hard to read, which in part is deliberate but in this context ultimately leaves you out in limbo; LaPaglia's role is largely reactive; Barrett is just awful (although awful in a way so common in Australian movies that it may - shudder the thought - be quite realistic) as the father, and the movie's echoes of Oleanna (in the issue of who's telling the truth, the overall staginess, and in the feeling that she may be crazy or unreasonable) are unhelpful in that they expose the unelevated language and general clunkiness of this version, to its considerable detriment. The film certainly doesn't contribute anything to the cinema of sexual politics (unless it be the modest benefit of an "Australian perspective").

"Brilliant Lies", which seems to be trying to make a statement about the sexual assault of females, begins as a tale of workplace sex harassment and stumbles around somewhere between "All In the Family" and a soap opera by film's end. A journeyman Aussie flick farught with stereotypical superficial characters, "BL" is a mediocre watch at best with more to fault than favor. D+

The fabulous Carides sisters combine with a young Anthony La Paglia, a suitably wimpish Michael Veitch and Ray Barrett playing Ray Barrett to sleazy perfection in framing a superbly executed movie exploring sexual tension in the workforce whilst incorporating misogyny, family trauma and an LGBTI angle, albeit in a 1990's mindframe.

Despite a budget seemingly less than the $40,000 harassment/wrongful dismissal claim central to the story, this screen adaptation of David Williamson's play is an engaging insight into the fractious male/female dynamic and how they play their cards to advantage in order to get what they want. The two combatants Susy (Gia Carides) and Gary (Anthony La Paglia) may be married off screen, yet their seething animosity is key to the film's authenticity and ambiguous rendering of who indeed is the most brilliant liar.

My only gripe is the ultimate willingness of sisters Susy and Katy (Zoe Carides) to accept the unforgivable trespasses of their mostly awful father.