Mentiras Sinceras

The successful, honest and methodic lawyer James Manning (Tom Wilkinson) works in London and is living in the country with his beloved wife Anne (Emily Watson). Anne decides to have a party at their home, and the husband of their housemaid Maggie (Linda Bassett) is hit by a car at the same time nearby her house and Maggie witnesses that a Land Rover caused the accident. James associates the scratch on the car of his acquaintance Bill Bule (Rupert Everett) with the accident, and forces him to confess and promise to go to the police on the next morning. When he arrives home, Anne tells him that she was driving the car; further, Bill is her lover. James changes his opinion and decides to support the lie, while a persistent detective is investigating the case and the list of guests.

"Separate Lies" is not a bad movie, but the behaviors and the way of life of the characters are too British, at least follow the stereotype. It is almost unbelievable the way and fair-play that James Manning accepts his situation of cuckold, no matter how much he loved his wife. Further, he lies, what would be unacceptable for his ethical standards and rules of living. Anne Manning is a real bitch, betraying a man that loves her for a crook. I cannot see this story with Italian, Brazilian or any other Latin people. In the end, the truth, the betrayal, the corruption, the moral are blurred in a hypocrite dirty lie. My vote is six.

Title (Brazil): "Mentiras Sinceras" ("Sincere Lies")

"Separate Lies" is a veddy English take on "Unfaithful" and "Crash" crossed with a Ruth Rendell mystery about guilt and responsibility.

The setting is very smoothly established of a high-powered solicitor who works in the City, has a country house and an in town apartment and has everything ordered beautifully and under control, including his wife. The surroundings completely capture the mood. A sense of portent and uneasiness is only introduced with fast flashbacks to a car accident until Emily Watson as the wife starts showing some out of place hairs and breath.

The coincidences are a bit claustrophobically theatrical so that it almost feels like a stage play. For the first half the suspense and revelations keep our attention, but then the film just ducks it all and deteriorates into relationships that are so civilized as to be devoid of emotion or reason. I haven't read the book so don't know if director/adapter Julian Fellowes changed it.

This is the best Tom Wilkinson performance since "In the Bedroom." He holds the film together. He's used so often in films to fulfill the stereotype of a self-satisfied suburban or aristocratic executive that one forgets it can be done with subtlety and verve. This may be the first film that he gets to use so many four letter words with his own accent.

Rupert Everett is so distant and even repellent to every one that it's hard to see his appeal that is critical to the plot. I kept thinking who else could have been cast for at least some magnetism. While it is amusing to see him as a Milord in casual jeans, explained disdainfully that he's been living in America so long that he's practically become an American (a line I've heard in a couple of other Brit movies lately).

While we get a frisson of background on relationships that is supposed to help, it's not enough. All the background and relationships are revealed off screen through talky explication. We certainly can't tell in terms of how people relate. We have to take revelations for their word for it. The injection of old-fashioned Movie Star's Disease makes the characters' interactions get even phonier. And then suddenly there's narration that's unnecessary and jarring. While there's flashes of some action and emotion, this is drawing room drama. That stiff upper lip just gets plain annoying.

There was probably some symbolic significance to a Paris interlude that included a rendez-vous by the Guy de Maupassant statue but if so it was a long time coming for a not worth it punch line.

There's an amusing inside joke of a character watching "Monarch of the Glen" on the TV, as Fellowes was featured in that series.

Julian Fellowes, the distinguished writer of "Godsford Park", presents us with another civilized tale of self contained emotions. This time however, the ingredients are somehow at odds with each other and the strange taste that left in my palate indicates that, perhaps, it was removed from the oven a little too soon. I longed for Joseph Losey at the helm and Dirk Bogarde, Sarah Miles and Alan Bates as the protagonists. Emily Watson is always marvelous but here, she doesn't have the kind of support she, as an actress or as a character, deserved and/or needed. Tom Wilkinson, as good as he is, doesn't have the layers of a Dirk Bogarde or James Mason. He is exactly what you get and Rupert Everett, who became a star overnight with Julian Mitchell's "Another Country" has taken a strange and puzzling road. His close ups are kind of frightening. His mouth has become the center of attention and not the kind of attention one would expect. It belongs to the villain in a horror movie. I noticed that already in his comedy with Madonna. I know, perhaps, all this sounds irrelevant but it conditioned my response to "Separate Lies" I wanted to be riveted and I wasn't.

Fellowes's directorial debut takes us into a tangle of complex adult relationships. His story unfolds after an accident takes place which is followed by a web of lies. Fellowes gets to the point right from the very beginning. The wonderful score and cinematography set the tone. Fellowes uses less close-ups as he stresses on the full body gesture of his actors. I also liked his attention to detail and the subtle nuances of his actors, notice his choice of location and props which are all a relevant part of the scenes. I must further add that the authentic locations are quite breathtaking.

He has wisely chosen gifted actors like Tom Wilkinson and Emily Watson to play the key roles. Wilkinson is at his best while the sublime Ms. Watson downplays her part with grace and complete ease. Hermione Norris has an effective presence. The always dependent Linda Bassett stands out. Rupert Everett looks a little awkward but is quite adequate.

At first glance, 'Separate Lies' may not appeal to all as it's quite easy to miss some of the important details and misinterpret the nuances of the actors. However, on second viewing, I was able to appreciate the film on a much deeper level. On an additional note, the director's commentary is a brilliant bonus. Fellowes provides some great insights into 'Separate Lies' and he has put a lot of efforts into its making.

I wish there were more films about middle aged people. The intellectual journey and the twists and turns of life's moral highway make interesting viewing. There seems to be a different standard of judgement on women who have extra marital affairs than on men. Amy Watson's hurtful and humiliating behaviour towards her husband seems to pass without comment. Reverse the roles and one could expect a torrent of condemnation towards the man. If she found her husband boring and judgmental she could could have told him so, left and waited for a no doubt large financial settlement upon divorce. The country and London scenes are wonderfully authentic and rich while the autumnal weather adds to the melancholy background superbly. The ending is perfect, so in tune with real adult life.