Three Secrets

Often compared with 'A Letter to Three Wives', this Robert Wise directorial effort has sufficient clout and substance to be judged on its own merits.

'Three Secrets' offers the double whammy of a perceptive insight into the contrasting fortunes of the three women, who have a claim to being the boy's mother, against a backdrop of the daring, treacherous, hazard strewn rescue attempt of a child who may/may not still be alive.

Only Ruth Roman's history seriously delves into the film noir canon. The rest follows the fractious romantic drama route, as the bite yer fingernails down to the elbows tension of the rescue continues. Happily married Eleanor Parker has sought to move on with her life, but has acutely bitter memories revived as the headline stealing events unfold. Cynical journalist, Patricia Neal finds herself reporting on the case, whilst fellow hack, Edmon Ryan, master of slime and smarm is responsible for blowing the whole legal shebang out into the open.

The driven, feisty Neal can only ruefully reflect on a painful, passionate and ultimately doomed romance with more grounded Frank Lovejoy, whilst struggling to maintain a cool detachment from her personal involvement, through a string of zesty one liners.

An unanticipated final twist....and NO, it's not that an administrative medical records muddle reveals that NONE of the three is the birth mother! Gives 'Three Secrets' a closing shot in the arm on the credibility scale.

A plane crashes on a mountain peak. Everyone is dead, except possibly the five-year-old adopted son of two of the passengers. As reporters gather to cover the story of the men preparing to climb to mountain to rescue the child, the movie concentrates on three women present: tough-as-nails reporter Patricia Neal, married, childless housewife Eleanor Parker, and Ruth Roman, convicted of slaying the father of her unborn child. Each had given a child up for adoption on the same day to the same adoption agency, the day the child was adopted.

The situation is remarkably similar to Wilder's mordant ACE IN THE HOLE, but Robert Wise's movie is more about the story of the three women and their suffering. The performances are prime work; even Leif Erickson as Miss Parker's lawyer husband recites his few lines in stalwart tones. 1920s Sennett clown Billy Bevan gets three lines, and other actors like Frank Lovejoy and Larry Keating give good performances, but the emphasis is on the three women: tamped-down Miss Neal, fragile Miss Parker and almost hysterical Miss Roman. I'm not terribly fond of these stories, but this is a well told one.

Three women review their past lives while they wait for news that will change the future totally for one of them.

But it isn't "Letter to Three Wives"!

Putting aside the shameless use of the formula from Mankiewicz' masterwork, "Three Secrets" is an enjoyable, well-written drama. Another similarity to "... Three Wives", and one that I have no objection to, is leads Patricia Neal, Eleanor Parker & Ruth Roman being mature, extremely attractive women; not a teenybopper or nymphet in sight.

A second movie that came to mind while watching "Three Secrets" was "The Big Carnival" with its media circus of cynical reporters covering and exploiting a disaster. However Wilder's film followed this one.

The beautiful Cole Porter tune `I get a kick out of you' is well used on the soundtrack.

Whatever suspense THREE SECRETS has is derived from the audience not knowing (until the end) which woman's boy has survived a plane crash. Each woman (ELEANOR PARKER, RUTH ROMAN and PATRICIA NEAL) thinks it's her own abandoned five year-old son. As they wait patiently for more news on the identity of the boy, each woman reflects in flashbacks on what led up to their heart-breaking decision.

Robert Wise has directed all of the melodrama with some fine touches and a steady hand, so that Parker, Roman and Neal are all seen to advantage in a plot vaguely similar to that of A LETTER TO THREE WIVES in which three women await news on which husband deserted them.

Parker is a woman who had an illegitimate child; Roman had to give up her child while she served a jail term; Neal was a career woman who preferred career to domestic chores.

Sensibily acted and directed, it's a rather low-key melodrama that might not meet the demands of fans not enthusiastic about so-called chick flicks.

Smartly combining a bit of the disaster movie with melodrama, Robert Wise was very good at directing actresses; his precedent movie, "the set-up" ,although taking place in the boxing world , featured a prominent female character (the boxer's wife was not only decorative and she had this sublime sentence :" WE've won tonight" .)

By and large ,the first part is given over to Parker, then Neal dominates the second one -and her evolution from an arrogant journalist to a compassionate woman is convincing - ;Roman appears late in the story (apart from a brief glimpse in "the shelter" ) but her character is the only one who does not belong to a privileged milieu :an ex-convict ,she 's lost everything and she clings to this hope : a child who could be hers ,should he be found still alive. The audience sides with her when she slaps in the tabloid press journalist's face.

The rapport the three actresses have is deeply moving , and although we eventually learn the true identity of the mother ,it does not seem to matter anymore ; it's OUR child .