However, I didn't enjoy his latest film as much. It's not necessarily his fault in the acting department, but he could have done a better job as a writer.
Imagine a world without lies of any kind. People are always honest — at times brutally so. For those who subscribe to an “honesty is the best policy” point of view, a truthful world may sound ideal. However, such a straightforward existence also entails no fiction, so movies within this world merely consist of readers reciting history lessons, and there’s no deeper meaning behind a characters’ actions. Everything is exposed directly on the surface, which makes for amusing circumstances but no real emotional connections.
This world is exactly what is depicted in the new film “The Invention of Lying.” The premise is mildly entertaining, but the movie is unable to balance the amusing frankness of the characters and the deeper emotional resonance of protagonist Mark Bellison’s (Ricky Gervais) problem of being the first and only person capable of lying. Moments of humor and grief that strike true do not complement each other or add to the cohesive structure of the plot.
Gervais, the British comedian responsible for television favorite “The Office,” brings the best of his self-deprecating humor to the film as its co-director and co-writer. There are plenty of laughs, especially in the first half of the film, at the expense of Gervais’ “fat, snub-nosed” physique. Anna (Jennifer Garner), the object of Bellison’s affection, is particularly hilarious in her upbeat, earnest and cutting honesty toward Mark, by directly telling him he is not in her league.
There are a number of cameo appearances, from quirky television staples Tina Fey, as Mark’s disparaging secretary, and Jeffrey Tambor, as his diffident boss, to Academy Award nominees Philip Seymour Hoffman and Edward Norton as a clueless bartender and a skittish police officer, respectively. The actors clearly enjoy the opportunity to be callously honest in a role, and their joy is palpable.
In addition, there are some genuinely poignant moments. When Mark invents the idea of a happy eternity after death so his dying mother will not be afraid, Gervais gives a glimpse of his convincing emotional range. The moment in the film could be interpreted as an indictment of the artificiality of organized religion.
Despite the quality of the awkward interactions between the truth-tellers and Mark, as well as the emotional depth of Mark’s relationship with his mother, the overall story has several major problems. The most glaring issue is the lack of a proper backstory for the relationships of the film. Other than Anna’s attractiveness and sweetness, no reasons are given to explain why Mark is so enamored with her, nor is there an explanation of how the two met and ended up on a date together.
Similarly, throughout the film Mark confides in Greg (comedian Louis C.K.), who is assumed to be Mark’s good friend. However, the film never explains how or why they are so close — Mark simply walks into a bar disturbed by his newfound ability to lie and begins talking familiarly with Greg.
The climax of the film is rather anticlimactic and predictable, with Mark merely getting the courage to directly confront Anna about his feelings. Had Mark and Anna truly grown as characters, the film would be a much more solid piece overall.
Gervais and his writing and directing partner, Matthew Robinson, have a great deal to learn before moving from remotely successful comedies to unified and meaningful works of fiction.
“The Invention of Lying” was written and directed by Ricky Gervais and Matthew Robinson.
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