Separate Lies

Boasting powerhouse actors Emily Watson and Tom Wilkinson, under the clever direction of Gosford Park writer Julian Fellowes, Separate Lies promised to present a nuanced vision of a modern, troubled marriage.

However, in the critical role of “the other man” – and undoubtedly the weak link in the film’s performative link – Rupert Everett disrupts the believability of this delicate melodramatic project. With an affected nonchalance that falls flat (and smacks robotic), Everett’s performance causes us to question Watson’s interest in him (even if it is self-conscious). The result is a love triangle that feels more schematic/intellectual than emotional (a point driven home by Fellowes’ clumsy use of voice-over mechanics).

That being said, the schema of the film holds some interest, and somewhat manages to set this melodrama apart from its generic brethren. For most of the film, we are privy only to consequences, not actions. As such, the audience occupies the role of detective/analyst, trying to decipher the deeper truths behind the characters’ mannerisms.

Unfortunately, the script lacks the necessary complexity to render this cat and mouse structure pleasurable in itself (as opposed to a film like Code 46) – leaving us with a rather pedestrian, if at times engaging, examination of modern adults confronting the institutions of yesterday.