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| The
Truth About Charlie
Directed By: Jonathan
Demme Plot
Summary - Review 1 - Review
2 - CURRENT REVIEWS
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| A young woman (Thandie Newton) in Paris is about to divorce her husband when she discovers... he's dead; and all their money is gone. She meets a mysterious man (Mark Wahlberg), who tells her that the money was really his, and he wants it back, seemingly convinced that she's hiding the cash. Meanwhile, more people end up dead...[TRAILER] The truth about Charlie is not as comprehensible as one would hope for from a great thriller. For the bulk of the film, the audience tosses and turns, is surprised and flabbergasted, but stays glued to the screen with the promise of a dramatic conclusion. The truth, sadly, is that "The Truth About Charlie" is a perfect example of style over substance-a monumental tease that builds to an extraordinary fizzle. Based on the 1963 classic, "Charade," "The Truth About Charlie" bears little resemblance to its predecessor. From a blaring pop soundtrack to hand-held and digital camera techniques, "The Truth About Charlie" is so clearly modern pop art that I seriously doubt any serious attempt will be made to copy this 2002 rendition. As the title suggests, the film begins with the only scene to show Charlie alive. He says little, but appears to be a proper gentleman on a crowded train. He suddenly sees a shadowy figure, the camera zooms in on his panic-stricken eyes, and the story is whisked away to Regina (Thandie Newton), Charlie's disgruntled wife, tanning on the beach. When she returns home, she finds her apartment ransacked, is informed of her husband's death, and starts to receive threats from some of his "business" associates who are owed large sums of money. Regina knows nothing, and when Joshua Peters (Mark Wahlberg) comes to the rescue, Regina welcomes him with open arms. They only met once on the beach, but he is the only person in the world she can trust. What ensues is a cat-and-mouse game of epic proportions, involving Regina, a French inspector, Joshua, four mysterious henchmen, and Mr. Bartholomew (Tim Robbins), a latecomer to the story who, while talking to Regina on a Ferris wheel, claims to be a member of the United States government. From one scene to the next, names and stories change, motives are revealed and then altered, and it appears as if a glorious puzzle is being presented for the audience's approval. And as this tension builds, director and screenwriter Jonathan Demme ("Silence of the Lambs," "Philadelphia) maintains a chaos that is rarely seen in movies. There are quick cuts, scenes where the film's speed is slowed or accelerated, obscene camera angles, and shaky camerawork. Rarely is the film presented in a traditional, straight-on style. Demme seems to deliberately induce this confusion, reflecting the upheaval of Regina's world, and it works. There were moments when I was dizzy, not sure who to trust, and not sure who deserved to be trusted or scorned. In one notable scene, more that seven characters dance around each other at a club. They are doing the tango, and must switch partners every few beats. As we follow Regina from one partner to the next, the absurdity of the story changes from intriguing to laughable. Every character says something different, warning Regina to choose a different path, and, for a moment, "The Truth About Charlie" seems like an exaggerated comedy, spinning out of control. It is when, only moments later, someone dies that we realize Demme is not in on the joke. "The Truth About Charlie" is not an intricate puzzle but an impenetrable cloud of confusion. It exists in moments. There is a double-cross that sends Regina over the edge, a confrontation that shifts the character's power struggle, a revelation that sends characters racing for answers…but while these moments are interesting, they never connect to form a mystery the viewer can hope to solve. At a point, Demme's style kills the story. I give "The Truth About Charlie" credit for its daring approach to the material. It successfully lured me into a world of shadows, mysteries and confusion. Maybe it did its job, in that regard, a little too well. By the film's end, I couldn't find my way back.  
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