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 Truth About Charlie, The / Правда о Чарли

Режиссер: Jonathan Demme

Страна: USA

Жанр: Mystery

Год выпуска: 2002

Актеры: Mark Wahlberg (as Joshua Peters), Thandie Newton (as Regina Lambert), Christine Boisson (as Cmndt. Dominique), Tim Robbins (as Lewis Bartholomew), Joong-Hoon Park (as Il-Sang Lee), Ted Levine (as Emil Zatapec), Lisa Gay Hamilton (as Lola Jansco), Stephen Dillane (as Charlie), Simon Abkarian (as Lt. Dessalines), Frйdйrique Meininger (as Madame du Lac), Charles Aznavour (as Charles Aznavour), Anna Karina (as Karina), Magali Noлl (as Mysterious woman in black), Agnиs Varda (as The Widow Hyppolite), Sakina Jaffrey (as Sylvia)

Молодая женщина собирается развестись со своим мужем, как вдруг обнаруживает его мертвым, а все деньги – украденными. Некоторое время спустя появляется таинственный человек, который заявляет, что деньги принадлежали ему, и он требует их вернуть, будучи убежденным, что вдова где-то их прячет. Одним трупом ее мужа дело не ограничивается...

The Truth About Charlie

Regina Lampert (Thandie Newton, `Mission: Impossible 2') has gone back home to Paris to finally screw up the courage to ask her husband, Charlie (Stephen Dillane), for a divorce. Upon arriving, Regina finds her home turned upside down, her husband dead, and gangs of thugs, cops, and U.S. government agents (Tim Robbins) looking for her to provide answers to where Charlie left 6 million dollars behind. Her only sanctuary is Joshua (Mark Wahlberg), a kind stranger who seems instantly smitten with Regina, but who just might be an even greater threat to her than any shady character she's met before.

`The Truth About Charlie' is a loose remake of `Charade,' a 1963 Stanley Donen thriller that starred Audrey Hepburn and Cary Grant. Director Jonathan Demme (`The Silence Of The Lambs') has taken this rare opportunity to work with well-known material and turned his film into an homage to the French New Wave films of the 1960s. Demme, whose last film was the artistic and financial failure, `Beloved,' appears hungry right off the bat in `Charlie,' as every frame of this picture has something active going on in it. With ever-changing film stocks, swirly camera movements (I‘m not being funny when I suggest a dose of Dramamine before viewing), and frenzied cutting, Demme is hell bent of making his mark on a rather unremarkable storyline. Regrettably for the film and the audience, Demme eventually becomes so enraptured with his artifices, that the film collapses under the weight of an incomprehensible story, bad acting, and overall reverence to an era that was better off left alone. Demme has proven himself an innovator time and again, with Oscars and accolades to prove it. But `Charlie' seems a film only he would enjoy, with the audience left holding the pieces of a terribly overcooked motion picture.

Even with all the other problems `Charlie' has to wade through, how did one as big as Mark Wahlberg slip through undetected? The brutally unseasoned actor truly has no business stepping into the role previously worn by Cary Grant, of all people. I can think of ten other actors working today who can muster a decent level of charm for this tricky role, and Mark Wahlberg is not even in the same galaxy as this list. A brute of a man, and a simplistic actor, Wahlberg needs space and nurturing to bring anything of wealth out of him. Paul Thomas Anderson worked magic with Wahlberg in 1997's `Boogie Nights,' and the actor has been suffering from comparison ever since. If there was any little nagging feelings that `Boogie Nights' was a fluke, `Charlie' should solidify these thoughts. Wahlberg is hilariously inept as the smooth Joshua, stumbling over his lines and comical machismo, and made to look like a fool by costume designer Catherine Leterrier, who puts Wahlberg in increasingly hilarious headwear, including a fantastically campy beret (trust me, big laughs there!). For the film to work on its most basic level, we as an audience needs to believe that this character is capable of making any woman swoon. But with Wahlberg, the opposite effect of repulsion occurs, and he takes the fundamental failure of Demme's experimentation and homage, and drags it to the bottom of the ocean floor.

On the other side is Thandie Newton, a sly, crafty actress who previously worked with Demme on `Beloved.' Newton has the easier role of the audience stand-in, and she is, without a doubt, more winning than anyone else in the picture. Newton jumps around with an effortlessness that makes the rest of the film jealous, and her performance is a welcome upbeat note in what turns out to be a lifeless picture. In a rare front and center role, Newton saves the film just by keeping her energy level up, and not allowing herself to sink with the rest of this carelessly assembled film. ---------- 2/10

Время: 102 мин
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