As a seasoned movie buff who’s seen his fair share of period dramas, I must say that “Lies We Tell” is a haunting and gripping tale that truly stands out from the crowd. Having lived through various eras, I can attest to how accurately this film captures the oppressive atmosphere of Victorian society, where a woman’s silence was her only protection.
In this gripping retelling of J. Sheridan Le Fanu’s timeless gothic tale, an affluent Irish woman finds herself captive under the cruel grip of her heartless uncle and his corrupt kin, in a story that subtly yet powerfully explores the oppressive nature of patriarchy. Titled “Whispers in Shadows“, this chilling adaptation skillfully builds an atmosphere of dread before plunging into a harrowing saga of sexual and mental torment. As the protagonist grapples with her grim reality, she’ll feel the weight of her entrapment, not only by her bloodline but also by the societal expectations that shackle women. How can you cry out for rescue when no one is prepared to hear your plea?
In the year 1864, on the prosperous Knowl estate in Ireland, 17-year-old Maude Ruthyn (Agnes O’Casey) departs from her father’s fresh grave to attend an essential gathering. Doctors Bryerly (Mark Doherty) and Captain Ilbury (Kieran Roche) are appointed as trustees for Maude’s wealth, but not her legal guardian. Instead, that role falls to her estranged Uncle Silas (David Wilmot), who was previously acquitted for the murder of a gambler. Bryerly and Ilbury advise Maude to be vigilant regarding him. However, she dismisses their caution, believing herself competent enough to manage her own matters. Regrettably, Uncle Silas turns out to be much more treacherous than she perceives.
A Capable Woman Finds Herself Trapped by a Wicked Family
Maude, still mourning in somber attire and maintaining an elegant composure, greets her uncle, his son Edward, daughter Emily, and their governess upon arrival at Knowl. However, she finds their jovial demeanor somewhat off-putting. In a short time, they settle comfortably within the opulent mansion and express admiration for its grandeur. Maude feels displeased when Silas takes a seat at her father’s desk and begins to examine the financial records. He reassures her not to fret, advising that a young lady should exude brightness and not concern herself with matters of finance. Maude gently asserts her disagreement. She has no intention of becoming a socialite. She is determined to ensure her father’s wealth will be managed responsibly.
I shudder at Edward’s playful attempts to touch me, and Emily’s cheerful demeanor, along with her ever-present watchdog nanny, don’t sit well with me either. I perceive a questionable motive behind Silas’s proposal of a union with Edward, and I’m far from pleased when he mets my outright rejection with displeasure.
In a nutshell, Director Lisa Mulcahy portrays Maude as self-reliant and bold, yet inexperienced and blindsided by Silas’ manipulations. Maude disregards Ilbury’s warnings that she’s a target for exploitation. Maude eventually realizes that those around her are treacherous and has no one to trust. Her seemingly safe existence at Knowl was misleading. To make matters worse, the people she believed would support her, her servants and maid, are involved in Silas’ plot. Essentially, Maude finds herself powerless within her own home.
A Beautiful Environment Darkens After Disturbing Abuse
In the unsettling second half of “Lies We Tell,” things take a grim and disquieting turn. Mulcahy doesn’t spare Maude from witnessing horrifying violence that strips her of innocence. These scenes are tough to endure, but they effectively convey their intended impact. Now, Maude has a clear understanding of the gravity of the situation. There won’t be any knight in shining armor coming to her rescue. She’s not safe and must learn to navigate the danger, which exposes her to further harm. Maude is forced to play Silas’ game on his level. Her intelligence and resilience become her only means of defense against such an unprincipled enemy.
Knowl, initially presented as an ornate sanctuary, gradually morphs into a labyrinth of confined spaces for Maude – a series of locked doors, windows, and endless corridors. Awareness of her entrapment creeps up on Maude subtly rather than all at once. Mulcahy skillfully uses soft lighting, haunting music, and wide-angle shots to build the film’s ominous atmosphere before tightening the noose around Maude as the walls begin closing in. If Maude had any idea of Silas’ intentions, she would never have found herself in his grasp.
Agnes O’Casey Is Brilliant in a Brisk Period Piece
In this captivating portrayal, I find O’Casey remarkable as she masterfully conveys a range of emotions without uttering a word. Maude stands firm against her inhumane oppression, knowing that giving way would only strengthen her uncle’s malevolent intentions. The threat of being labeled hysterical and confined to an asylum in Victorian Ireland was a chilling reality, one that could have stripped her of her wealth and freedom.
In an impressive 90 minutes, the film “Lies We Tell” sends shivers down your spine with a swift-moving narrative that tackles heavy themes without losing momentum, thanks to Mulcahy’s direction and Weronika Kaminska’s editing skills. It is unusual for a period film to move so briskly without any slowdown, making it an engaging watch. Moreover, while “Lies We Tell” realistically portrays the harrowing subject of sexual assault, it should be noted that this may be distressing for some viewers. However, its sensitive and significant treatment of the topic deserves recognition.
The film titled ‘Lies We Tell’ is a collaboration between Blue Ink Films, Embankment, and Fís Éireann / Screen Ireland. Starting September 13th, it will be available for video-on-demand (VOD) and digital streaming in the United States through Quiver Distribution. You can rent or purchase it on various platforms such as YouTube, Google Play, Fandango Now, and Apple TV by following the provided link.
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2024-09-15 05:06