The Truth
The Truth

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- 76/100 based on 4,196 votes

Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ambitious conductor freshly graduated from the conservatory. Was it passion, vengeance, desperation, an accident? The acquaintances of Gilbert testify, as well as Dominique's former lovers, and her sister, Annie, the studious violin player engaged to Gilbert. The evidence they give progressiv... (Full plot summary below)

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Actors in The Truth:

Brigitte Bardot
Sami Frey
Charles Vanel
Louis Seigner
Paul Meurisse
Marie-José Nat

Full Plot Details

Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ambitious conductor freshly graduated from the conservatory. Was it passion, vengeance, desperation, an accident? The acquaintances of Gilbert testify, as well as Dominique's former lovers, and her sister, Annie, the studious violin player engaged to Gilbert. The evidence they give progressively paints a more finely-shaded picture of the personalities of Dominique and Gilbert, and of their relationship, than the eloquent and convincing justifications of the counsels.

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Movie Reviews

User Review - 10/10 by Agnès PThis is certainly Bardot's best role ever and one of CLouzot's best direction. The drama is dense and riveting and the actors are just amazing, especially Charles Vanel as Bardot's lawyer. It's a movie about the lives and thinking of a new generation (the baby boomers) and an absolute must for every Clouzot fan.
User Review - 10/10 by Dalia DWhile some films are completely unbelievable and therefore terrible, other films, like La Vérité, and completely unbelievable but somehow still brilliant. I would blame it on Bardot, but she's acted through some stinkers, so I know it's more than that (although she is delightfully charming in this one). In fact, this movie succeeds against all odds; it's set inside a courtroom during a trial, and the story is told via flashback, narrated by the judge, who reads from a kind of deposition of Dominique's social and sexual history. The court's goal is to discern whether or not she actually loved her lover when she killed himâ??whether it was a crime of passion motivated by his poor treatment of her, or whether it was premeditated murder, done in cold blood to punish her hated sister Annie (to whom he became engaged after ending his relationship with Dominique, and from whom she had stolen him in the first place). The task with which writer/director Clouzot sets the court is of course absurd, and to watch the two attorneys vie over whether Dominique was, indeed, a slut, has its own unintended comic merits. But the brilliance of the film lies mostly in its depiction of the "outsider" bohemian set into which Dominque falls when she fights with Annie, moves out of their rented room, and finds herself homeless. Her male friends all double as casual lovers (something which doesn't seem to bother her much)â??the darker reality behind their funny, proto-hipster outfits and haircuts is that, if she weren't putting out, she wouldn't have any place to stay (or perhaps that, if she weren't so beautiful, they wouldn't demand that she put out). Of course, Bardot revels in the role of sex kitten, but her desperate affection for Gilbert, who claims to see her as more (but who arguably actually does not) belies beauty's affliction. Dominique is, in a way, addicted to the constant sexual attention of men (which is why, when one drives by on a new motorcycle, she leaves the wimpy Gilbert in the gutter, hopping on for a two minute ride from which she doesn't come home until the next morning, while Gilbert has been pacing in front of her door all night). At the same time, she knows that these attentions are fleeting, and without Gilbert's "true" love, she feels unstable. His love, though, is stultifying; he's not strong enough to keep her under control, and ultimately, he only wants her for the same thing every other man does. And so whether or not the courtroom scenario is plausible is irrelevant; the film demonstrates genuine emotions and the relationships amongst a certain social set (the bohemians, that is; not the beauties) that will always struggle for the sake of struggle.
User Review - 8/10 by Ondrej ?View of judiciary process and look into life of probably most complicated character Bardot ever played.
User Review - 8/10 by George MHenri-Georges Clouzot never fails to slap his audience in the face by showing them the bleakness of the moral universe they seek to affirm. In that sense, he is the opposite of Hollywood, even though he uses very succesfully the genres, tropes and techniques that American cinema uses. In La Verite the genre he uses is the court drama and he does it masterfully; however, the finalle does not resolve the tensions of the plot in a morally upbeat way, where everything returns in order (moral and social). On the contrary, the film ends with an unresolved conflict - that between the true, passionate feelings of Brigitte Bardot's character towards the man she loved and killed and the cold, moralizing juctice who lacks understanding. Clouzot never brings us too close to his characters, never tries to make us identify totally with them as we would in a Hollywood court drama in which we would know where we stand in relation to them, but his cool eye and distance gives the spotlight to the social conflict itself: the young vs the old, the free sexuality vs the moral uptightedness, the bohemian vs the employed, true love vs fake love, good-parenting vs bad-parenting etc. Clouzot is a satirist deep down; he delights in degrading the noble picture society makes of itself and he does it with deadly seriousness. But, no matter how serious he is as a filmmaker, he is also very playful, making his films full of small, amusing details, such as the security-lady who comes as a witness claiming she always checks who passes from the entrance into the building. The most impressive thing in La Verite is its sincere portrayal of youth culture, of new sexual ethics emerging at the time and the bohemian Parisian life. Clouzot neither glorifies these characters, as some films of the Nouvelle Vague did, nor condemns them. Closing, the performances are excellent and Brigitte Bardot is exceptional here.
User Review - 8/10 by paul BDecidement, Clouzot est un realisateur fascinant! La Verite est un film pour Bardot, dans lequel la beaute de l'actrice, magnifiquement mise en valeur, n est que malediction.
User Review - 8/10 by Zhanyi JIf there is one role that redeems Bardot for her mediocre filmography, it is this one. In this courtroom drama in which realistic law practices are forgotten as the jury decides between a crime of passion or a premeditated murder, she gives a performance so emotional it simply can't go unnoticed. Odd to think of her as a powerful drama's driving force, but that is precisely what she is to La Vérité.
User Review - 6/10 by Art SStrongly reminiscent of the decadent Parisian milieu of Claude Chabrol's Les Cousins (1959) which also sees a young person from the country come to the big smoke to get involved in the decadent life on the Left Banke. However, this time we follow Brigitte Bardot and it is sometimes difficult to know whether the film is meant to be provocative cheesecake or something deeper. Bardot's story is framed by a courtroom drama, since she is accused of murdering her ex-lover, a young classical conductor, recently engaged to her sister. There is no doubt that she is the killer, only whether she deserves the death penalty or something lighter (the French system of jurisprudence seems rather different than the US version, with the judge posing questions and more than one lawyer pitted against her and her team). Most of the movie is composed of flashbacks detailing Bardot's version of events, describing how she toyed with the young conductor who eventually became tired of her endless cheating. Bardot certainly commands attention and runs the gamut of emotions, both in the flashbacks and in the courtroom - but she isn't likeable. The "truth" being pointed out is that society is wrong to judge young people seeking a different life for themselves, those who don't want to conform to past or current norms. The lawyers present both sides, for and against the new freedom; Bardot is caught in the middle. The director, H. G. Clouzot, known for Les Diaboliques, The Wages of Fear, and Le Corbeau, doesn't really distinguish himself, although the film does capture its time and place.

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