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The Man Who Lies (1968)

L'homme qui ment (original title)
Not Rated | | Drama, War | 27 March 1968 (France)
On the run from pursuing soldiers, a man hides in a small European town.
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2 wins & 1 nomination. See more awards »

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Cast

Cast overview:
Jean-Louis Trintignant ... Jan Robin / Boris Varissa
Sylvie Bréal Sylvie Bréal ... Maria
Zuzana Kocúriková ... Laura
Dominique Prado Dominique Prado ... Lisa, the barmaid
Catherine Robbe-Grillet Catherine Robbe-Grillet ... Druggist
Sylvie Turbová ... Sylvia
Ivan Mistrík ... Jean
Dusan Blaskovic ... Taverner
Jozef Kroner ... Franz (as Jozef Króner)
Jozef Cierny Jozef Cierny ... Father
Július Vasek Július Vasek ... Vladimír
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Storyline

On the run from pursuing soldiers, a man hides in a small European town.

Plot Summary | Add Synopsis

Genres:

Drama | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

France | Italy | Czechoslovakia

Language:

French

Release Date:

27 March 1968 (France) See more »

Also Known As:

Czlowiek, który klamie See more »

Filming Locations:

Slovakia See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono
See full technical specs »
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Did You Know?

Trivia

During the graveyard scene, Jean-Louis Trintignant's character leans against a grave with name "Boris Varissa" on it. See more »

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User Reviews

Fascinating to watch, if not to follow
22 May 2017 | by federovskySee all my reviews

The paranoia of the self-perceiving mind was the basis of a kind of literary movement in France for a while. An amalgam of surrealism, popular psychology, and war trauma - Robbe-Grillet was one of its notables. Here, Jean-Louis Trintignant plays a kind of memory-muse, returning to a village occupied by the Germans after the war, purporting, at first, to be a missing resistance hero, but is rebuffed by the locals and constantly changes his story while making a laconic play for the man's widow, sister and maid.

The Sapphic trio of women are the film's chief feature, the camera picking out hundreds of gorgeous poses as they prowl uncertainly around bare rustic interiors. Trintignant underplays it, playfully, as does the director. It's never solemn, with dazzling washed-out images. A picturesquely shabby Czech village seemed to have been commandeered for the production.

The mutating story of the man and his fabrications, and the meaning behind it - presumably guilt - is less interesting than the creativity in the visuals, which are never less than striking, and in the editing, which is sheer artistic genius.


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