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Printer-Friendly ModeGervais directorial debut not just funny fibbing
October 5, 2009 —
Dishonesty is such an integral part of our society that it’s difficult to grasp the dynamics of a world without it.
Perhaps so difficult that few people in film or literature have attempted to portray such a world. With The Invention of Lying, writer-director Ricky Gervais takes a crack at this untapped challenge.
Right out the gate, Lying establishes the most basic effects of living in a liefree world.
Mark (Gervais) picks up Anna (Jennifer Garner) for their first date and she immediately voices disappointment of his physical appearance. At dinner, their waiter vocalizes his disbelief the two are on a date, telling Mark that Anna is way out of his league.
But living in a world where lying exists doesn’t just mean awkward first dates.
Coca-Cola advertisements include warnings of obesity and diabetes, concluding that you should buy the product because it’s well known.
Movies are little more than a guy sitting in a chair retelling history, such as Napoleon’s conquests or the invention of the fork.
On the brink of eviction following the loss of his job, Mark makes a fantastic discovery: he can say something that isn’t actually true.
Naturally this is only briefly a beneficial thing for him, otherwise there wouldn’t be much of a movie here.
With his mother on the brink of death following a heart attack, Mark consoles her with assurance that death is followed by an endless afterlife. Word gets out and before long, millions of people believe Mark is able to communicate with a man in the sky.
Lying then bounces between biting religious and social commentary that will undoubtedly offend the religiously devout.
But the purpose here is not to offend, but rather, question spiritual logic.
With the revelation of an afterlife, many characters are no longer concerned with getting the most out of this life. Why bother when there’s an endless life after this one, they surmise.
Several religious sectors have already deemed the film morally offensive. While unsurprising, such condemnation ignores the poignant questions Lying raise: Should we not attempt to get the most out of this life as we can? Should we concede anything in our only promised life because of a belief in an afterlife?
Where Lying stumbles is its reservation to the standard romantic comedy formula by the conclusion.
For the number of religious questions the film raises, it is too concerned with resolving the unconvincing relationship between the sensitive Mark and the superficial Anna.
The film becomes less about life and more about giving chubby, notvery- attractive guys a romantic chance.
There’s merit in showing that love should be based on more than just appearance. But it feels a bit cheap to have the topic blanket the more complex issues Lying tackles.