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Color of Lies
Color of Lies (Au Coeur du mensonge) is very much a film that stays true to the formula that made Claude Chabrol one of the most recognizable names in French cinema. Structured as a part-mystery-part-social-drama this relatively straightforward production explores the relationship between a painter in crisis, Rene (Jacques Gamblin) and his partner Viviane (Sandrine Bonnaire).
In the small fishing community where Rene and Viviane reside a little girl is brutally raped. Being the last person to be seen with the victim as well as being her regular art teacher Rene is the subject of an ongoing investigation which puts a strain on his already troubled relationship with Viviane. To make things worse, a conceited local reporter (Antoine de Caunes) attempts to stray Viviane away from Rene in a time when he needs both her affection and moral support.
Despite the presence of all the signature elements that are typically attributed to Chabrol's stories and the stylistic intensity which his films are infused with Color of Lies is one of the more conventional productions I have seen from the great director. The mystery, the intentional confusion which Chabrol delivers, the delicate nuances that make his characters stand out are all here, yet Color of Lies never really engages its viewers in a way that for instance La Ceremonie does. Apart from the emotional turmoil between Rene and Viviane which is worth seeing the rest of the film is rather easily predictable especially if you happen to be familiar with Chabrol's earlier works.
It is almost impossible not to feel a tiny bit disappointed that Color of Lies is not the emotional roller-coaster one would hope for after seeing Sandrine Bonnaire, an actress I have an utmost respect for, and Jacques Gamblin, an actor that has been tremendously underrated, together on the big screen. While they both feel very comfortable in their roles and especially towards the climax of Colors of Lies I felt they had a perfect chemistry, I believe the script never really allowed them to manipulate the story in a manner that would have elevated the element of surprise to a higher, more sophisticated level. In fact, the plot followed a story that I was expecting and aside from a few worthy social remarks which Chabrol masterfully leaves behind Color of Lies does not offer much in terms of substance.
In terms of style, thankfully it is all there and fans of the classic Chabrol will not be disappointed. In fact, most of the cinematography in Color of Lies is unusually impressive, something Chabrol is not particularly well-known for. I suppose one could claim that he is more effective with his ability to create a superb dialog-driven story which is often referred to as an example of stylistic precision, than his ability to deliver a strikingly beautiful cinematography.
The subtle social critique which Chabrol sets out to deliver in Color of Lies is perhaps the only aspect of the film that somewhat lives up to the expectations. There are a few references that are certainly well targeted and provide an interesting look at the complexity of French provincial life and the calm attitude with which people regard tragedies. Even they, however, remain underdeveloped and fail to enhance sufficiently a rather predictable, if not disappointing, narrative.
How Does the DVD Look? Addition How Does the DVD Sound? Extras: "Moteurs Actions Indiscretions"- A Making Of Documentary on The Color of Lies- A Presentation by Film scholar Joel Magny- Original French Trailer- Stills Gallery- Final Thoughts:
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