Lies We Tell Review: A Nerve-Wracking Adaptation of the Classic Gothic Novel

An Irish heiress becomes a prisoner of her ruthless uncle and his twisted spawn in this gripping adaptation of author J. Sheridan Le Fanu’s classic gothic novel. Lies We Tell masterfully stokes unease and tension before escalating into a harrowing journey of sexual and psychological abuse. Your skin will crawl as a leery protagonist realizes the dire severity of her situation. She’s trapped not only by her relatives, but also victimized by a cruel patriarchy’s constraints on women. How can you scream for help when no one is willing to listen?

In Ireland circa 1864, on the lush estate of Knowl, 17-year-old Maude Ruthyn (Agnes O’Casey) leaves her recently deceased father’s grave for an important meeting. Doctor Bryerly (Mark Doherty) and Captain Ilbury (Kieran Roche) have been named trustees of Maude’s fortune but not her guardian. That right falls to her long-banished Uncle Silas (David Wilmot), who was infamously acquitted for murdering a gambler. Bryerly and Ilbury warn Maude to be wary of him. Maude dismisses their concerns. She’s more than capable of handling her own affairs. Unfortunately, her uncle is a much worse man than she realizes.

A Capable Woman Finds Herself Trapped by a Wicked Family

Maude, still grieving in black and always with a proper demeanor, welcomes her uncle, his son Edward, daughter Emily, and her governess to Knowl. She’s immediately turned off by their cheery behavior. They quickly make themselves at home and marvel at the mansion’s riches. Maude isn’t happy when Silas sits at her father’s desk and starts perusing the financial ledger. He tells her to stop worrying, and that a young lady should carry herself brightly and not be concerned with matters of business. Maude politely disagrees. She has no interest in being a socialite. Her father’s money won’t be mismanaged.

Maude recoils in disgust when Edward tries to playfully touch her. She also isn’t fond of the spritely Emily or her omnipresent watchdog nanny. Maude senses dubious intentions when Silas suggests a union with Edward. He’s not happy when she categorically rejects the idea.

Director Lisa Mulcahy, a stalwart of Irish television production (The Tourist, Ridley Road, Red Rock) frames Maude as independent and headstrong, but naive and wholly unprepared for Silas’ machinations. Maude ignores Ilbury’s concern that she’s “a prize” to be taken. Maude learns that she’s surrounded by jackals with nowhere to turn. Her isolated life at Knowl gave the false impression of security. Even worse, the people she thought would be allies, her servants and maid, are complicit in Silas’ scheme. She literally has no power in her own home.

A Beautiful Environment Darkens After Disturbing Abuse

Lies We Tell takes a dark and ugly turn in a disturbing second act. Mulcahy doesn’t shield Maude from innocence-shattering violence. These scenes are difficult to watch, but they achieve their alarming goal. Maude now fully understands what’s at stake. There will be no gallant hero riding to her rescue. She’s not safe and must adapt to survive, but risks further harm by being overt. Maude has to play the game at Silas’ level. Intellect and fortitude become her only weapons against a truly unscrupulous adversary.

Mulcahy does a banner job of turning Knowl into a gilded cage. The film’s sinister elements brew from the start, but the level of wickedness isn’t readily apparent. Maude wouldn’t allow herself to be placed in Silas’ clutches if she had any inkling of what was to come. Mulcahy begins with soft lighting and an eerie accompanying score, but makes sure to cinematically capture wide-open spaces with sweeping camera angles. This point of view changes dramatically when the walls start closing in on Maude. Knowl’s opulent beauty transforms into a maze of locked doors, windows, and endless hallways. Maude’s dawning comprehension of no escape happens with a trickle a not a flood.

Agnes O’Casey Is Brilliant in a Brisk Period Piece

O’Casey is remarkable in a brilliantly nuanced performance. Maude has to remain reserved in the face of her awful treatment. Losing control would play right into her uncle’s nefarious hands. A hysterical woman in Victorian Ireland could be committed and subjugated to heinous treatment. This would give Silas exactly what he desired, Maude’s wealth and property. O’Casey bottles fear, anxiety, and rage, but lets her damning eyes speak volumes. Maude refuses to be cowed and surrender what’s rightfully hers. O’Casey projects courage and resilience with restraint and stoicism. She’s excellent here and has a bright acting future ahead.

Lies We Tell rattles nerves in a brisk 90 minutes. I was stunned by how fast the narrative progresses given the depth of its bleak subject matter. Mulcahy and editor Weronika Kaminska deserve top marks for their pacing. It’s rare for a period-set film to breeze by without any lagging. Also, it must be said that Lies We Tell realistically depicts sexual assault and may be triggering for some viewers, but its handling of the subject is mature and important.

Lies We Tell is a production of Blue Ink Films, Embankment, and Fís Éireann / Screen Ireland. It will have a VOD and digital release in the US on September 13th from Quiver Distribution. You can rent or buy on platforms like YouTube, Google Play, Fandango at Home, and on Apple TV through the link below:

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