Secrets & Lies

In honor of my film class wrapping up this week, I will be counting down my top five favorite films we have watched for class. I begin with my #5 choice, Secrets and Lies, a Mike Leigh drama/comedy about the secrets and lies (shock) that tear apart a dysfunctional British family. Brenda Blethyn plays Cynthia Purley, the very dramatic and always crying single mother who is one day contacted by the daughter she gave up for adoption…who happens to be black. The look on Blethyn's face is priceless as she flashes back to a one night stand she had as a young lady.

Most would think Leigh's story would revolve around race relations, which is not the case at all (race is never an issue). Instead he revolves his story around the Purley family, a unit so torn apart from over the years that a simple family cook out turns into a soap opera. "Secrets and lies! We're all in pain! Why can't we share our pain? I've spent my entire life trying to make people happy, and the three people I love the most in the world hate each other's guts, and I'm in the middle! I can't take it anymore!" This memorable quote comes from Maurice Purley, brother to Cynthia and talented photographer. Maurice is your classic good guy, the passive patriarch who always tries to hold the family together. (The irony around his character is that he cannot conceive a child with his wife, Monica). You almost feel sorry for the successful Hortense, as if she would be better off not knowing her birth mother at all.

The actors are so talented in this film that Leigh, at times, uses no cuts during a scene. The camera stays in one spot as the actors' play out scenes that can last 10-15 minutes. After you get past the difficult British dialect (you may want to use captions while watching), you will feel as if you are that nosey neighbor who can't help but listen and enjoy the problems this family confronts…and that's no lie.

It took a second viewing of Mike Leigh's 'Secrets and Lies' to reveal the depth of its genius. I love character-driven drama, and this film succeeds in creating indelible portraits. Even the social worker is quirky and memorable instead of just furthering the plot and being patently sympathetic.

I could write quite a lot about Blethyn's riveting performance. How drained she must have been after sustaining a character who seems always at the height of emotional pressure. Opposite her, Jean-Baptiste seemed as cool and smooth as could be. The contrasts created by these personae even extended to costume and decor.

I decided to watch this movie again because after a BBC Shakespeare binge I wanted to see everything Ron Cook has been in. And while the Stuart scene is really somewhat incongruous to the rest of the family plot, Cook's scene as the bitter, drunk 't****r' works for me perfectly. So do the scenes of photo sessions -- and it's a matter of observing this film in terms of clarity of personal vision. The occupations of photographer and optometrist seem to lend metaphors of spirituality -- for Maurice, the ability to see people as they are, and for Hortense, the ability to understand how others see the world. The wall of smoke that Cynthia and Roxanne seem to keep in front of them. The disparity between the images created for the formal portraits and the truth of the personalities in them. In a distinctly un-sappy way, Leigh has explored the old adage that "the truth will set you free."

If one reads a paragraph describing the main plot -- the adopted child seeking out her birth mother -- a very clear idea of a movie-of-the-week story comes to mind. 'Secrets and Lies' is nothing like that, and shows a mastery of vision and a cast of great talent. My roommate agreed, saying he thought this was one of the best films he's seen this decade.

I'm flabbergasted to read comments from the US complaining about the awful accents in "Secret and lies". Hey, people, you're 'merkans, and this language is supposed to be you mothertongue, it ain't mine, and I can nevertheless cope, so what ?? Has Hollywood's cliché-ed accents eroded your capacity to understand other ones that just happen to be real in the UK ? How d'you think Brits, Aussies and Kiwis cope with 'merkan accents then ? Yet US films are the same problem to them ! Come off it, panning a movie just because one is too lazy to make a little effort in concentration ia a wee tad unfair ! "Secret & Lies" is an excellent movie, great acting, and well, Timothy Spall and Brenda Blethyn are good in there because they sound real, because ther accents may not be that smooth to some ears, but they do add credibility to their characters.

BTW, a good few Brit movies on DVD happen to have english subtitles for the hard of hearing, the feature could be a help into getting used to those weird accents 60 million people across the Pond happen to have...

The way Leigh weaves a story here - no screenplay, just tell the actors what the scenes are supposed to do, give them an outline, but don't give away the punch line or the ending - shows up in the final print. This is cinematic magic, with Blethyn turning in one of the most breathtaking performances ever seen on the silver screen. The transformation into Cynthia Purley is total. Study especially the scene in the cafe in Holborn - story has it these two principals had not met before shooting this scene, and the scene goes on forever, and puts incredible demands on both actors, especially Blethyn, who is simply unreal in her abilities. All do a great job here. This is not a light comedy. It will tear at you, thanks in part to the evocative music, but at the end you will go 'wow' and feel good for having seen it.

With modern films placing so much emphasis on visuals and sound & the stage specializing in avant-garde drama or comedy, it's rare to find old-fashioned storytelling outside of books. But it's rare at any time or in any medium to find a work combining such smartness & sensitivity as "Secrets & Lies." After the deaths of her adoptive parents, urbane young London optometrist Hortense (Jean-Baptiste) searches for her biological origins and locates her mother: alcoholic, neurotic, once-promiscuous factory worker Cynthia (Blethyn, in one of the finest film performances of all time). Each is stunned to find something about the other that neither knew: that the mother is white and the daughter is black! The film has sideplots rather than subplots, two other stories developed in depth, parallel to the main story, although Leigh masterfully uses them to support rather than weaken the central relationship between Cynthia & Hortense. Cynthia's daughter Roxanne (Rushbrook) is coming of age and exploring love, work and independence while struggling between the love, pity, resentment & disgust she holds for her mother. Cynthia's brother Maurice (Spall, a roly-poly, English Jimmy Stewart), a prosperous but overworked studio photographer, gives the family name a facade of middle-class respectability even as he & his wife Monica (Logan) carefully conceal an embarrassment of their own. Through a variety of small, seemingly random but fascinating illustrations like the Canterbury Tales, the film hammers home its theme: that lying & deception become not just easy but casual in an age that emphasizes individualism & responsibility, where you assume that no one, not even the closest of your relatives, wants to hear about your problems. Rather than help one another, each suffers alone, while every lie they so readily spin must constantly be fed with more deception. A story that could have been both preachy & crushingly depressing is cut with just the right amount of humor in all the right places, until the heartbreaking climax that is as powerful as any ever filmed. There isn't an air of judgment or lecturing morality, no attempt to make a sweeping commentary of society. If any such message is delivered it must be derived from the story. In a superb cast Blethyn stands out as the haunted, tormented Cynthia, hurt & angered by the contempt & pity she sees in the eyes of her brother, sister-in-law & daughter as she staves off nervous breakdown with the bottle. Yet she can't bring herself to turn away again from the child she gave up long ago, even though only she knows how much pain lies ahead if she doesn't. Jean-Baptiste provides a stark contrast as the cool-headed but intense young woman who might be repulsed by the coarse, painful world in which Cynthia lives, yet never shows any reluctance to enter it. There's a spareness about the film (so many scenes go without music that you're often surprised to remember that there IS a music score) that engrosses the viewer, making him concentrate, rather than giving an air of cheapness. It's not Shakespeare or Greek theater, since no one gets stabbed or finds out he's married his mother, but Tennessee Williams or Anton Chekhov would have been envious of this effort.