Lies We Tell – Film Review
by Frank L.

Director – Lisa Mulcahy
Writers – Elisabeth Gooch, Sheridan Le Fanu
Stars – Agnes O’Casey, David Wilmot, Chris Walley

Uncle Silas is a novel written by Sheridan Le Fanu and published in 1864. Le Fanu was a prolific Irish writer of crime, mystery and vampire novels. Uncle Silas is one of his best-known works. Elisabeth Gooch adapted the work for the screen which remains firmly based in the strictures of Victorian society.

The heroine, Maud (Agnes O’Casey), is a young woman whose father died and she is now the heiress to a considerable fortune. However, she is underage, not yet having reached twenty-one. Her father’s will appointed two apparently suitably qualified individuals to be the trustees of his estate namely Bryerly (Mark Doherty) and Ilbury (Kieran Roche). Puzzlingly, he also appointed his brother Silas (David Wilmot) to be her guardian. Over Silas there hangs considerable clouds. He arrives at the large unwelcoming house accompanied by his son Edward (Chris Walley) and daughter Emily (Holly Sturton) together with a French governess “Madame” (Grainne Keenan). A battle of minds then ensues between Maud and Silas with Edward and Emily playing sinister supporting roles ably assisted when needed by Madame. As the title implies it takes some time before the truth begins slowly to emerge as the various characters have options to confront the truth or evade it. Each has options but Silas at all times appears as unashamedly self-serving and grasping.

The choice of Ardgillan Castle as the location was inspired. It is even referred to in the script as a barracks and that is what it is. Its interior while imposing lacks any sense of grace or of being a home. The elderly servants Rusk (John Olohan) and Mrs Rusk (Eleanor Methven) add a subservient creepiness to the dour edifice while Mary Quince (Elaine O’Dwyer) is a young maid, who is quite unsure of herself.

The cast is dressed in Victorian garb with black and dark colours predominating as the household is in mourning. This dour attire adds to the sense of a house with little or no cheer. The only criticism is the unlikely hair-do which Emily sports which is a distraction. The score by Aza Hand accentuates the unhappiness of the relationships in play and the ugly vibe pervading the house.

The principal role is that of Maud (Agnes O’Casey). She is in the majority of the scenes and O’Casey gives a performance which shows a young woman confident as to what her rights are and well-versed in the intricacies of her substantial inheritance. She is spellbinding to watch. Silas is such an unpleasant character Wilmot does well to make him tolerable. His confrontations with Maud are bullying and intimidatory and he is at all times self-serving.  The corridors, cellars, bedrooms and shuttered windows of the dour castle make a fine backdrop for a chase which keeps you on the edge of your seat as it heads towards its appropriately melodramatic denouement.

This is a thoroughly enjoyable thriller with a cast of many unpleasant characters set in an unlovely house. Maud, the heroine, is of course the exception.  Although it is set in the nineteenth century, it raises issues of personal autonomy and consent which are matters of heightened discussion today in the twenty-first century. As a result, this is a film which has a contemporary relevance and the skill, experience and inventiveness of its production team complement a plethora of fine acting. In particular, it is a performance that could launch O’Casey’s career. It is suitably disturbing and makes for a gripping experience.