5.10.09

Movie review, the Invention of Lying

It is getting to be easy to identify the anti-Christians in Hollywood.

The Invention of Lying

Venomous supposed comedy, set in a world where lying is unknown and every word spoken is accepted as truth, and where God does not exist until a failed documentary screenwriter (Ricky Gervais) discovers the ability to deceive and, to comfort his dying mother (Fionnula Flanagan), invents the fable of an afterlife, going on to fabricate the story of a "man in the sky" who rewards good deeds and punishes evil, all of which is eagerly accepted by the credulous masses who flock to hear his message. Along with his co-writer and co-director Matthew Robinson, Gervais launches an all-out, sneering assault on the foundations of religious faith such as has seldom if ever been seen in a mainstream film, despicably belittling core Judeo-Christian beliefs and mocking both the person and the teaching of Jesus Christ. Pervasive blasphemy, some sexual humor and references, and a few rough and crude terms. O -- morally offensive. (PG-13) 2009

The Invention of Lying (Full Review)

The fashionable "new atheism" -- popularized in book form by such authors as Richard Dawkins and Christopher Hitchens -- unexpectedly slithers its way into the neighborhood cineplex with the arrival of "The Invention of Lying" (Warner Bros.).

Though its trailer gives no clue as to its true agenda, this venomous supposed comedy is set in a world where lying is unknown and every word spoken is accepted as truth and where -- not accidentally, the screenplay implies -- God does not exist. Until, that is, failed documentary screenwriter and all-around loser Mark Bellison (Ricky Gervais) spontaneously discovers the ability to deceive.

After playing on the absolute trust of everyone around him to inflate his bank account and in an abortive attempt to compel an attractive stranger to have sex with him on the grounds that, should she refuse, the world will come to an end, Mark graduates to white lies, encouraging his suicidal neighbor Frank (Jonah Hill), for instance, to remain alive by promising that he has a bright future ahead.

In a similar vein, Mark tries to comfort his dying mother, Martha (Fionnula Flanagan), who is tormented by the prospect of eternal nothingness, by inventing the fable of an afterlife in which she will be reunited with everyone she has ever loved and live in a mansion, experiencing perpetual joy.

The hospital attendants who overhear Mark's reassuring fabrication are thrilled, and word soon spreads that he has some kind of secret knowledge. As crowds besiege his house, Mark works out a ludicrously simple-minded creed which he proclaims at his doorstep, a latter-day suburban Moses with a pair of pizza boxes taking the place of the tablets of the Law.

The main tenets of Mark's freshly minted religion concern a "man in the sky" who controls and directly causes everything that happens -- including both disease in individuals and large-scale natural disasters -- and who rewards good deeds and punishes evil, though three serious sins per lifetime are forgivable. His credulous listeners accept his teachings with pathetic eagerness, but obsess about the smallest details.

Though he goes on to worldwide fame and great wealth, Mark pines in vain for his elusive friend Anna (Jennifer Garner), who rejects him as a spouse on the grounds that his genes are far inferior to hers.

In a particularly disgraceful scene, Mark, who has become a reclusive heavy drinker, answers the doorbell one day to find Anna on his threshold. She stares at him, and tells him he looks terrible. The next shot reveals that -- with long hair and a new beard and wrapped in white bed sheets -- Mark in fact looks like a seedy version of Jesus.

Gervais, who co-wrote and co-directed with Matthew Robinson, launches an all-out, sneering assault on the foundations of religious faith such as has seldom if ever been seen in a mainstream film, despicably belittling core Judeo-Christian beliefs. Not only Catholics but believers of every stripe and, indeed, people of good will generally will be well-advised to shun this calculated cinematic insult.

The film contains pervasive blasphemy, some sexual humor and references, and a few rough and crude terms. The USCCB Office for Film & Broadcasting classification is O -- morally offensive. The Motion Picture Association of America rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13.

Thanks and a tip of the beret to Robert Banaugh, a some time catylist for my articles.


Dieu le Roy,
Brantigny

1 comment:

Matterhorn said...

Awful- but not surprising given all the scoffing prevalent today.