X
- 2022
- Tiger House
- 1 h 45 m
- 2022
- Tiger House
- 1 h 45 m
Summary An American novelist living for a time in London converses with his wife, his mistress, and other female characters he may have dreamed up.
Written By: Arnaud Desplechin, Julie Peyr, Philip Roth
- 2022
- Tiger House
- 1 h 45 m
- 2022
- Tiger House
- 1 h 45 m
Deception
42
6.3
Summary An American novelist living for a time in London converses with his wife, his mistress, and other female characters he may have dreamed up.
Written By: Arnaud Desplechin, Julie Peyr, Philip Roth
Top Cast
Metascore
Mixed or Average
Based on 10 Critic Reviews
42
30% Positive
3 Reviews
3 Reviews
20% Mixed
2 Reviews
2 Reviews
50% Negative
5 Reviews
5 Reviews
Metascore
Mixed or Average
Based on 10 Critic Reviews
42
30% Positive
3 Reviews
3 Reviews
20% Mixed
2 Reviews
2 Reviews
50% Negative
5 Reviews
5 Reviews
This zig-zagging emotionally perceptive tale of an American writer abroad and the women he has bedded — or perhaps merely written about having bedded — is accomplished French filmmaking the way arthouse denizens like it.
In Desplechin’s implicit view of his artistic heroes and milieu, he turns Roth’s personal story into his own.
User Score
Generally Favorable
Based on 4 User Ratings
6.3
50% Positive
2 Ratings
2 Ratings
25% Mixed
1 Rating
1 Rating
25% Negative
1 Rating
1 Rating
User Score
Generally Favorable
Based on 4 User Ratings
6.3
50% Positive
2 Ratings
2 Ratings
25% Mixed
1 Rating
1 Rating
25% Negative
1 Rating
1 Rating
There are no user reviews yet. Be the first to add a review.
Arnaud Desplechin’s Deception is a strange, stifling but frequently intriguing attempt to find a cinematic match for the literary voice of Philip Roth, from his autofictional 1990 novel of the same name.
To give Deception, the latest attempt to bring Roth to the screen, a little bit of credit, it does come closer than most to rendering his prose stylings into cinematic terms. But it does so in a film so lifeless and inert from a dramatic standpoint that few viewers are likely to notice or even care.
With his Deception, Arnaud Desplechin renders one of a great author’s slighter works titanic by comparison.
Desplechin and his film seem to have a perverse and single-minded fixation not on “dazzling, interesting” women, but lost, tragic ones—women who can gravitate toward and glom onto Philip (Denis Podalydès), an inexplicably francophone version of the author, who lavishes the attention.
A film full of people smiling knowingly and laughing delightedly at each other’s not-especially-funny-or-interesting remarks, and it’s all the more insufferable for things the film gets fundamentally and structurally wrong.
