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Le jeu de la vérité (1961)

Play the game of truth at your own risk.



(adaptation), (scenario) | 5 more credits »


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Cast overview:
L'inspecteur de police
Françoise Prévost ...
Jean-François Vérate
Solange Vérate
Tiny Yong ...
Girl (as Thien-Huong)
Jeanne Valérie ...
Françoise Bribant
Bertrand Falaise
Guy de Fleury
Guillaume Geder
Etienne Bribant


A dozen of elegant people are gathered in a writer's desirable mansion . They all have got a secret to conceal .They begin a cruel game of truth ,a game in which you are not supposed to tell lies.As the questions become more and more intimate and precise,the tempers rise ,while outside the storm is raging.Enter a hateful person who seems to know a lot about them.He's murdered.Who did it? Written by dbdumonteil

Plot Summary | Add Synopsis


Crime | Mystery


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Release Date:

29 November 1961 (France)  »

Also Known As:

The Game of Truth  »

Company Credits

Production Co:

, ,  »
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Technical Specs


Sound Mix:

Aspect Ratio:

2.35 : 1
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Did You Know?


Referenced in Les échos du cinéma: Episode #1.22 (1961) See more »

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User Reviews

Convoluted Agatha Christie-style mystery
17 April 2014 | by (NYC suburbs) – See all my reviews

A group of bored, upper-crust malcontents who don't like each other much gather in a rococo mansion on a stormy night to await the arrival of a universally hated peer who says he knows a secret about one of them that's worth millions. He comes and gets offed during a revealing "game of truth" but that's no guarantee the secret's safe -and, of course, whodunit?

An Agatha Christie-style "drawing room murder mystery" (literally, there's only the one set) made more interesting than it has any right to be by avant-garde mise-en-scène created entirely by character placement and a jazzy score (courtesy of Hossein's dad, Andre) that provides dramatic punctuation. The cast (director Hossein, Jean Servais, Jean- Louis Trintignant for the men and Nadia Gray, Françoise Prévost, Daliah Lavi for the ladies, among others) is impressive and without them it'd be well nigh interminable but I still found it overly convoluted and a bit claustrophobic. It's very talky, too, but, reely, what else can it do? I much preferred the confined spaces of Luis Buñuel's later EXTERMINATING ANGEL and Julien Duvivier's earlier MARIE-OCTOBRE but my favorite is still WHO'S AFRAID OF VIRGINIA WOOLF? Milage will no doubt vary.

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