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Published on September 15th, 2009 | by Sharilyn Johnson


Review: The Invention of Lying

If you want to know the basic plot of The Invention of Lying, look no further than the first 30 seconds of the film. Gervais lays it all out via narration during the opening credits: these people live in a world where people can only tell the truth, and halfway through the movie this “chubby little loser” will tell the world’s first lie.

That world without lies is illustrated with a huge punch right off the top, with an overly honest line delivered by Jennifer Garner when Gervais arrives to pick her up for a date (in the introduction to this screening at the Toronto International Film Festival, Gervais claimed that Garner was responsible for the line). The date itself – a situation normally full of diplomacy and embellishment – was a perfect template for showing this juxtaposition. All parties – even the waiter – make ridiculous admissions about their lives and bad behavior.

So much personal information is volunteered that you you wonder at what point this becomes a form of Tourrettes. There’s no effort to spare anyone’s feelings or one’s own pride, even if doing so only requires keeping quiet. There’s a difference between telling someone the truth and telling someone everything, right? But this is a fantasy world, and such unnecessary pondering is quickly put aside with each new layer of truth-telling.

Louis CK, Ricky Gervais, and Jennifer Garner in The Invention of Lying

Louis CK, Ricky Gervais, and Jennifer Garner in The Invention of Lying

What are all the different lies we tell to each other? You can see the brainstorming sessions overflowing onto the screen, among the most fruitful of which is the idea of lies in advertising. We see a Coke commercial on tv with a pitchman admitting that overindulgence “can lead to obesity,” followed later by a Pepsi ad on the side of a bus with the tagline “when they don’t have any Coke.” Inspired jokes like this were scattered liberally throughout the film, with a few taking an unexpectedly dark turn just to keep us surprised.

Gervais is rejected by Garner the same day he gets fired from his job. Nearly broke and with rent due, he visits his bank to make a withdrawal, and gets a wonderful terrible idea. The teller doesn’t question him when he says he should have $500 more in his account than their records state, and he walks away with a pile of cash and a can of worms.

His attempt to explain this phenomenon to his friend, played by Louis C.K., results in hilarious rapid-fire confusion between them and a bartender (one of the many celebrity cameos).

Gervais experiments with his new talent to start accumulating his wealth and power, and get second chances at his job and with the girl. And he also tries to do good for others, illustrated in a montage that proves to be rather inconsequential to the overall story.

Things are going fairly well, until Gervais tries to comfort his elderly mother and convince her that there’s a world beyond this one after we die. That’s when he gets into trouble. Suddenly, he’s perceived as having the answers to the universe’s big questions, and the world is all ears.

That’s where the film makes a bold point — in a world without lies, is there organized religion? A Bible? Well, there would be now. Gervais tells everyone he speaks to a “the man in the sky”, a lie that traps him into being the guy with all the answers. He does his best, explaining the “good place” and the “bad place” in the afterlife, standing before a crowd of holding pizza boxes as tablets with the universe’s rules posted on them. It’s another example of a “what if” premise being examined to its greatest extremes, and executed swiftly and oddly realistically given its ridiculousness.

The religious imagery at times slightly echos Evan Almighty, but the idea of the world following the George Carlin definition of religious dedication is endlessly amusing. Gervais blogged about some hardcore Christians calling the film blasphemous, which we’ll surely hear more of as the release date approaches.

Once the theme is exhausted (it peters out more than it is resolved), the focus shifts back to the relationship with Garner.

It may be just me, but I found the relationship between Gervais and Garner something of a mystery. Her character is incredibly shallow, focused only on landing a man with money, power, and the good looks necessary to make attractive babies someday. This seems unique to her, not the world in which they operate. It’s easy to understand why his character would be initially attracted to her, simply based on her hotness. But I feel like I missed out on the goodness/sweetness that Gervais claims to love about her later on in the film. She’s sweet in her demeanor, but we don’t get a chance to see it in a tangible way. But it’s just as well; the will-they-or-won’t-they romantic plot is not worth getting invested in because we’re already occupied with another plot points.

I was thrown to see Gervais get deeply emotional in one scene. Maybe it was my discomfort in knowing he was sitting just a dozen rows behind me in the theatre, but I’m not sure I was ready for this. Were those real tears?! He did a wonderful job of it by anyone’s standards, but simply because it’s Ricky I was thrown. I’m in no way suggesting that he’s not leading man material — he absolutely is — it was just a lot to take in after seeing him not sob for so many years. [It’s since been pointed out that I should refresh my Office/Extras memories.]

Rob Lowe, Gervais’s nemesis at his office, has the suave “other man” thing down perfectly (it reminded me so much of his character in Wayne’s World, and that suits me just fine). Tina Fey, perhaps not surprisingly, is only in a few scenes as Gervais’s bitter yet upbeat assistant. Jonah Hill is another highly-billed actor who gets limited screentime as a suicidal neighbor, but he makes the most of it (much in the way he stole his eBay store scene in 40 Year Old Virgin).

My #1 tip if you’re planning to see this film: Do not read the full cast list on IMDB in advance. If you’re the type of person to get excited about the casting of Louis CK and Tina Fey in supporting roles, you will be rewarded handsomely with quickie cameos that you never saw coming (and perhaps one that you did).

Overall? The jokes and the world constructed within the movie are beautifully executed, making it a film I look forward to watching again. Plus, it’s Gervais for Man In The Sky’s sake — my favourite “chubby little loser”.

Below: Ricky Gervais and co-writer/director Matthew Robinson present the film at the Toronto International Film Festival, Sept. 14, 2009. Photos copyright Sharilyn Johnson.

About the Author

is the author of the book Bears & Balls: The Colbert Report A-Z. Called "one of the city’s most discriminating comedy critics” by NOW Magazine, Sharilyn has been covering comedy for longer than she cares to admit. She served as the comedy reporter for Winnipeg's Uptown Magazine for five years, and was the host of the radio show Laugh Tracks for three seasons. Her work has also appeared in the Toronto Star, the Winnipeg Free Press, The Apiary, and on CBC Radio's national comedy programs LOL and Definitely Not the Opera.

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