In Secret (2013) User Reviews

rather dull sad costume drama improves slightly

[SnoopyStyle · 5/10 · 22 April 2015]

Thérèse Raquin (Elizabeth Olsen) is left by her father to live with his sister (Jessica Lange). Her hope of his return is lost when he's reported dead. She is pushed to marry her sickly cousin Camille (Tom Felton) by her domineering aunt. Camille finds a clerical job in Paris and the three of them move to the city. They buy a dusty shop and Thérèse is stuck behind the counters at the empty shop. She falls for Camille's new work friend Laurent (Oscar Isaac) who also paints. They quickly have an affair. However their secret affair is threatened when Camille decides to move back to the country.

It's a rather dull costume drama for the first half hour. Everything is dim and cold. Olsen needs some more opportunity to do something. When she pretended to be a bear, it was a flash of something great. The movie seems to be filled with possible great moments that are quickly engulfed by the movie's overwhelming blackness and whispers. It's an old romance novel of corset ripping without any great charm.

When the movie changes to a murder thriller, it picks up some energy but nothing that truly takes off. The prodding darkness keeps clawing it back to lifelessness. I never really fell in love with the couple. Lange is masterful at times but the movie is generally lifeless. It tries to be a nightmarish Hitchcockian thriller but director Charlie Stratton doesn't have the skills.

When born into a family in which love is absent, how far will one woman go to keep a man who found a way to satisfy her?

[Amari-Sali · 6/10 · 15 June 2014]

Admittedly I am not a big fan of period dramas. I find them pretentious and with most actors performing in a constrained manner, so they seem prim and proper, they often do come off dull to me. However, post-Belle, I did find myself curious about this film. After all, it does have Jessica Lange and Elizabeth Olsen in it, as well as the familiar face of Tom Felton. But, with no mention of Jane Austen, one of the few whose adaptations can liven up a period drama, I walked in hesitant and perhaps rightfully so.

Characters & Story

Poor Therese (Elizabeth Olsen) has found herself dumped with her Aunt Madame Raquin (Jessica Lange) and sickly cousin Camille (Tom Felton). To make matters worse though, Madame fully expects Therese to dedicate her life to nursing and entertaining Camille. Even to the point of marrying the boy. So, naturally, when a young man named Laurent (Oscar Isaac) comes around and not only presents himself as interesting, but less coddled and childish than Camille, it sparks something in Therese. But how far will she go in seeking some way to appease her lust and happiness? That is the question which lingers throughout the movie.

Praise

The first act of the film, in which we meet and get to know the main cast, makes for quite an entertaining picture. Olsen, as Therese, is quite fitting for the expression the Olsen sisters seem to have in their eyes, this sort of sadness even when they smile, makes Therese quite the sympathetic character. And while I am no fan of Tom Felton, with him popping up in multiple movies I've been watching, I must admit that playing multi-dimensional pathetic men seems to be something he is quite good at. For while I do feel bad for Therese, Felton as Camille certainly draws your sympathies as well since you can tell between him wanting to assert himself, and truly make Therese happy, he does try. It is just that Therese wants a more traditional man over a momma's boy.

Which makes Isaac as Laurent quite a burst of fresh air. I mean, watching Therese, who can't even deal with breathing the same air because of how mad she is with lust, was quite amusing, as is their whole relationship. I'd even say that the two have good enough chemistry, in the first act, that it makes you hope the two actors would work with each other again.

Criticism

However, once the climax happens and the 2nd act begins, watching the movie certainly becomes a chore. Be it the odd whispery voice of Shirley Henderson repeating "Madame" over and over; Therese and Laurent losing their appeal as a couple; or even Jessica Lange having a stroke and trying to give a quality performance using just one hand and eye movements, the 2nd act is simply a struggle to sit through. Not to forget, both Olsen and Lange portrayal of guilt and grief is so over dramatic that it really is quite a liability for the 2nd act. Especially as we see Therese's guilt eat at her and cause her to fight with Laurent. Making for when the film ends, it isn't something which saddens you but gives you such a feeling of relief.

Overall: Skip It

Consider me spoiled by the likes of Belle and the few Jane Austen movies I've seen. For with a lack of sarcasm or wit, and not even aesthetically pleasing attire to attract the shallowness of the eyes, it is hard to say this film gives any real quality reasons to sit through the whole thing. Which is unfortunate since the first act surely presented a decent film, but the climax somehow stole away all the life of the film and left us with a bumbling mess. Hence why the label "Skip It" is given. Even with the first half of the film being pleasant, the 2nd half is so exasperating that it ruins the film as a whole.

When struggling to breathe makes you drown

[jul-kinnear · 7/10 · 4 April 2014]

In life, people all have shades of grey. We have good moments and bad. At times, a person can be our best friend, and at other times, he can seem our worst enemy. A family member can be our greatest ally, and then suddenly our fiercest obstacle. But for the purposes of cinema, films often eliminate these complexities. They present us with heroes who are immaculate in virtually every way and villains who have no redeeming qualities whatsoever — and they expect us to cheer and boo accordingly. But that certainly isn't the case in Charlie Stratton's first feature film, In Secret . In this dark and captivating drama based on the novel Thérèse by Émile Zola, the lines are brilliantly blurred. There's no hero to worship or villain to wish dead — just people with good moments and frighteningly bad moments trying to get through life.

When Thérèse Raquin (Elizabeth Olsen) is left with her Aunt (Jessica Lange) after her mother's death, her life doesn't seem to be off to the best start. After years caring for her ailing cousin Camille (Tom Felton), her aunt announces that the two of them will be wed and they'll all move to the city. Understandably, this isn't the life the imaginative Thérèse had dreamt for her future. But dutifully, she does as she's told — and quickly sinks deeper and deeper into the hands of this family she never truly wanted to be part of.

Then, seemingly out of nowhere, the strong, charismatic, and handsome Laurent (Oscar Isaac) presents himself and she finds hope and love for the first time in her young life. But with a needy husband and overbearing aunt, the two realize they can never truly be together — unless they take matters into their own hands. And so begins a dark and terrifying psychological study of what happens when people are desperate to pursue their wants, regardless of the damage those desires may cause.

Although the average summary of the film might have you going into the cinema expecting a tortured romantic drama, Stratton isn't afraid to take sharp turns without a moment's notice. So be prepared for plenty of darkness and suspense. Your notions of bad guys and good guys quickly disappear as you find yourself cheering for one character one moment and feeling terrified of her at the next. Olsen, Lange, Felton, and Isaac carry off these depictions of refreshingly multi-dimensional characters almost effortlessly and with captivating honesty. Stratton's screenplay and direction brilliantly capture the complexities of human wants and needs — and the devastating effects of our desperate attempts to achieve them.

Everyone just wants to be happy — but at what cost?

http://juliekinnear.com/blogs/in-secret-review

Very dark and intense story, efficiently and simply told....

[skalwani · 8/10 · 28 February 2014]

When I usually go to see movies which cover a past period of time, I take the trouble of not reading too much about the background or skipping the book it is based on, so that I may judge the product purely on its merits and the strengths of the entire production crew that went into it's making. It pleases me to share with you that "In Secret" ranks as one such fine effort, right from the beginning it transports you to the mid-1800s era of rural France, and tells us the story of little Therese Raquin (Elizabeth Olsen). This effort has good production values, for not even a single moment does your attention drift away from the development of the characters, seeing them grow up, make the ties binding to the extent that Therese clearly suffers from the over bearing domination of her mother-in-law, played brilliantly by Jessica Lange. She gives the entire movie a continuation of the thread for the story, at times you feel her looks, demeanor and restrained but piercing performance, towards the end, are very absorbing. Hats off to the casting crew for making the right call here, she was born to play this role.

I wish to thank my fellow cinema mates - Isabelle and Lisa (you know who you are!) - for sharing their insights with me post the viewing. Correct use of lighting does give this piece the right feel of the suffocating & dreary lower working class Paris conditions, the same dark focus and clever use of perspective subtly nudge the viewer into feeling very tense as the story of betrayal develops. The very same way the characters demons grow, speaks to the way all of them absorb the souls of the players and share them with us flawlessly. As my fellow cinema watchers also shared with me, this movie is not for everyone, and only serious lovers of subtle simple but powerful period stories will appreciate this work. I suspect they are also right in anticipating that we may see many more French literary pieces coming to life on the big screen in the next few years. I give this movie an 8 star rating, simply because I appreciated every frame contributing to the telling of the story, no wasted effort or superfluous diversions whatsoever.

An impressive novel well told on film

[tao902 · 8/10 · 25 May 2015]

A clever film adaptation of Emile Zola's novel, Therese Raquin, set in 1860s Paris. Convincing mise-en-scene, convincing acting, excellent filming, suitable pace.

A clever, satisfying story containing the themes of marriage, affairs, desire, murder, suicide and justice. The plot strands draw us into the sinister world the lovers have created and provide us with a suitable denouement.

The director creates a believable world in which the unbelievable happens. Although it's not easy to empathise with any of the characters, it is easy to follow their development and roles within the narrative.

A nice little story that challenges the conventional protagonist vs. antagonist formula

[Arit · 16 September 2013]

Elizabeth Olsen's latest title role performance is not as showy as her first; when she broke out with "Martha Marcy May Marlene" in 2011, her character's heart and mind were the primary focus of the film. She used her bland looks like the Japanese Noh mask or the Greek Archaic smile, which you could interpret as an expression of any emotion you would like, thus lending mysteries and ambiguities. In "Therese" Olsen goes a lot lighter, allowing us to detach from, or even dislike the apparent protagonist if we choose so.

By contrast, Therese's mother-in-law, Madame Raquin is played by Jessica Lange with a heavy emotional emphasis. Few actresses entertain the idea of playing characters with special physical conditions. Fewer can play them convincingly. Even fewer can play them without words. With Lange they all come as standard. While seemingly playing an antagonist, Lange makes a surprisingly gratifying character.

Tom Felton's frail Camille is Therese's arranged husband, and Oscar Isaac's strong Laurent is Therese's extra-marital affection; these two actors are also solid as they play friends and enemies with polar opposite characteristics.

While by employing a comedic tone director Charlie Stratton takes away some gravity from the serious subject, he nonetheless makes the antique material accessible by wider audience. It is a rather simple story with nothing mysterious about its plot or its characters' feelings and motives, but at the same time, so cleverly ambiguous on the moral ground that you cannot easily decide for which character to root.

Suffering and loving...in secret

[cinematic_aficionado · 6/10 · 30 May 2014]

Paris during a past century. A woman is slowly dying in a loveless marriage but what can she do? She accepts her fate and goes on until the possibility of romance and passion comes her way. Then everything changes and she becomes prepared to do the unthinkable, but is the man she has fallen for a better bet than the husband for whim she has no love?

The location and costumes gave it an aura of authenticity as well as having a very potent storyline makes for an intriguing viewing experience. The let down comes from the fact that it is Hollywood making an epoch film. The way the characters are introduced and the plot develops is way too fast to create the impact it should.

"In secret" is a very poignant title, all evolving around a woman. She is drowning in her marriage...in secret, she meets and falls for another man...in secret, she goes out of her depth to be free of her husband and be with the one she loves...in secret. When the secret is revealed, the whole situation collapses like a pack of cards.

Love and sex in 19th Century Paris

[Red-125 · 9/10 · 20 March 2014]

In Secret (2013) is a French film directed by Charlie Stratton, who also wrote the screenplay. The movie is based on a play, which, in turn, was based on Emile Zola's novel Thérèse Raquin.

The film is set in 1860's Paris. (Filmed in Belgrade, where the narrow shop-lined streets still exist.) Elizabeth Olsen plays the title character. She is an orphan, raised by her aunt with the primary purpose of providing her cousin with a suitable wife. Her cousin Camille, played well by Tom Felton, is sickly and inadequate in many ways, including his sexual abilities. Thérèse finds herself trapped in a marriage that's not only loveless, but also sexless. She lives with her husband in the same household with her domineering mother- in-law Madame Raquin, played by Jessica Lange.

Into the mix comes the handsome Lauent (Oscar Isaac). The sexual attraction between Laurent and Thérèse is instant and demands consummation. That's the basic plot. Whether you enjoy the rest of the movie depends on your thoughts about what happens after Thérèse and Laurent meet.

I liked this film on several levels. It looks and feels real--we know this isn't Paris, and the shop owned by Madame Raquin is a set, but they have an authentic feel to them.

The actors are all seasoned professionals, and they perform extremely well. And, the plot--while not exactly original--captures your interest and attention to the end.

We saw this movie at the excellent Little Theatre in Rochester. It will work better on the large screen than the small, but it will still be worth seeing on DVD. I recommend it.

Oft filmed Zola abysmal waste of time.

[st-shot · 4/10 · 30 April 2014]

Is Emile Zola's novel, Therese Raquin, in the public domain? With a dozen silent, sound and TV productions one would think the last word had been beaten out of it by now but back it comes in this sluggish bore probably made on the cheap in Serbia by a hack taking his swing (and missing by a country mile) at the big time featuring a tired scenery chewing performance by Jess Lange so abrasive you can almost hear her teeth grinding.

Therese (Liz Olson) in a loveless arranged marriage to her sickly cousin Camille (Tom Felton) is bored, emotionally abused and sexually unfulfilled living in the country. When the opportunity to re-locate in Paris presents itself her heart soars but the frustration dynamic remains upon arrival, wiling her days away in a drab shop, her nights spent watching Madame Raquin (Lange) and friends play dominoes. When an old friend of Camille's, Laurent (Oscar Issac) makes the scene the passion amps up and tragedy awaits.

In its rather shapeless telling director Mike Stratton mutes In Secret's power with sluggish pacing and tepid desire from his star crossed lovers in passionate moments as he pays lip service to censors with self conscious compositions that render most scenes with a stiffness and restraint.

As Therese, Olson is wide eyed, dull and out of her depth, stretching little as she goes from innocent to cold conspirator. Oscar Issac gives a spot on imitation of Tony Bennett at times and that's part of the problem. He's more Rat Pack than 19th Century gentleman. Lange starts strong but soon veers into screeching ham in no time. In addition a group of minor supporting characters (the domino crowd) move en masse about the film like a gaggle of geese with insipid self importance and disapproving glances.

Standing on it's own In Secret flaccidly fails on all levels. When compared to the 1980 television version featuring the powerfully passionate performances of Kate Nelligan and Bryan Cox with the redoubtable Mona Washburne turning in a wonderfully measured performance as Madame Raquin it looks more like a community theatre production.

wow. powerhouse performances

[mompaxton-481-121381 · 6/10 · 25 August 2015]

I have never seen a performance by Elizabeth Olsen before this, assuming she was about as "good" as her sisters, meaning not good. But she gave a really great performance. And to stand on her own next to Jessica Lang, that is high props. She is extremely beautiful and really is something to watch in the future.

Other than the distraction of a few Harry Potter Alums I was really taken with this movie, it was a very well written storyline and I didn't see the end coming. The actors were well casted and all carried their own. Having put this movie on the back burner for so long i'm really glad I watched it now. Wish I had watched it sooner. A real sleeper surprise.

Fantasies and dreams

[kosmasp · 7/10 · 20 March 2015]

If you suppress sexuality and love long enough, it will break out eventually. And this is what happens here at some point. There are some very racy scenes, that while we do not get so much naked flesh to see, might be a bit too much for some viewers. Love can be freeing, but it can also be like a prison.

And while we do probably have the one Olsen sister who can actually act in this, this might be too much even for her. Especially towards the end, her act seems to be breaking (no pun intended). It gets pretty weird too, too weird maybe for some, but that's something you'll have to see for yourself. I kinda liked it, though the characters seem to lose a bit of their credibility. But it happens ... or it could happen

Depressing, Dark, and Melodramatic Period Movie

[VickiHopkins · 4/10 · 9 June 2014]

Where do I start? Reviewing this melodramatic movie that leaves you dead at the end (no pun intended), is going to be a task. I can honestly classify it as the most depressing film I have seen in a long time. The story is apparently based on a writing by the name of "Thérèse Raquin," written in 1867 by Emile Zola.

In short, the movie is about a young girl, who after her mother dies, is placed with her aunt and her sick, coughing cousin. Jessica Lange plays a controlling mother (Madame Raquin), who orchestrates Therese's life at every turn. Her father passes away, and Therese is left with a small annuity. No doubt for her own financial gain, she insists that Therese marry her cousin. Unfortunately, he is not appealing in personality or looks, while she on the other hand is attracted to handsome men and deals with an uncontrollable sex drive.

When they relocate from the country to Paris, down a dark and dingy street to open a shop, Therese meets Laurent, a friend of the family. It doesn't take long for the two of them to fall into a lust-driven, sexual relationship that borders on the ridiculous as they meet in secret. Her domineering aunt has no idea that while she is tending the store below, her niece is copulating like a nymphomaniac upstairs in the room she shares with her son. Though you are led to believe it is love between the two, I frankly thought it bordered on physical obsession. Her lover knows how to control her need for him by pleasuring her at every turn, just as well as her aunt who manipulates her to do her bidding.

As far as Therese's husband, played by Tom Felton, he is a boring and idiotic man, and a mama's boy. His relationship with his mother is frankly as sickly as his health (cough, cough), as his mother dominates and coddles him into adulthood.

Laurent, as sexually driven as Therese, wants her all to himself. He suggests that they orchestrate an accident to do away with her husband. After all, accidents happen every day. Therese is hesitant to carry out the plan, but Laurent takes it to the end when the three of them go boating. He pushes her husband overboard, beats him with a paddle, and they watch him drown. Of course, they are dragged back to shore feigning a terrible boating accident wherein he loses his life. His body is recovered, buried, and no one is the wiser, except for one family friend who has her suspicions.

Of course, after the murder and time passes, Laurent and Therese marry and live together with Madame Raquin at the shop. Their relationship turns sour very quickly, as guilt for murdering Camille and their debase personalities come to the forefront. In the meantime, Madame Raquin has a stroke, no doubt brought on by her excessive grief over her son's death, and is left unable to move or speak. As she is confined to a wheelchair, she discovers through their yelling fights with one another that they murdered her son.

Well, where does this leave this sordid tale of dysfunctional family, adultery, lust, and whatever else you want to term it? It comes to an end where Therese and Laurent grow to hate each other so much they plot each other's demise. In the end, they both go mad as a hatter, and commit suicide in front of Madame Raquin, who finally obtains justice for her son's murder. The scene is no Romeo and Juliet moment, believe me. Instead, it is a sad commentary to two selfish people who committed a senseless murder that leads to no happy ending.

As far as performances, Jessica Lange, I thought carried the insatiable grief about her son's death to a psychotic level. Whether it was the intention of her performance to do so because of the script, I have no idea. However, I thought it felt excessive. Elizabeth Olsen's portrayal, as well as Oscar Isaac's, as the colliding lovers (definitely not star-crossed lovers), were well done conveying the characters' crazy drive for sex and ultimate demise due to guilt that borders on lunacy.

The setting overall, especially in Paris, is very dark and gloomy, which frankly mirrors the story. The costumes were mid-Victorian era and dull in color for the most part.

If you like depressing, dark, and dramatic period movies that leave you feeling uninspired, this one is for you.

Uninspired Period Drama

[estebangonzalez10 · 4/10 · 5 June 2014]

"It's always the ones in the corner you have too worry about."

Kind of like in the same way that the main character, Therese, is trapped in a loveless marriage in this period drama directed by Charlie Stratton, I felt trapped in this dull and lifeless film. To be honest, I checked this film out because of the cast: Elizabeth Olsen, Oscar Isaac, Tom Felton, and Jessica Lange are all superb actors, but their characters never had much depth. There were major problems with the adaptation of the screenplay from Émile Zola's 19th century novel, "Therese Racquin," while the pacing was an issue for me as well. The production design transported me to 19th Century Paris very well, but the English language used never felt like it was from that period. In Secret does begin with some promise and I actually was drawn to the characters, but after 20 or so minutes it began to lose its appeal as it became hard to sympathize with any of the characters. We've seen this sort of Shakespearean tragedy played out many times and much better than it is done here. Jessica Lange is the only one who actually raises above from the rest of the cast and tries to salvage the movie, but it is expected considering her character had to undergo the most emotional ranges. Her character is the strongest thing about In Secret where she slowly transforms from an unsympathetic character to a sympathetic one.

The story is set during the 1860's in Paris as we are introduced to a forced marriage between Thérèse Raquin (Elizabeth Olsen) and her cousin Camille (Tom Felton) by his domineering mother, Madame Raquin (Jessica Lange). Therese was raised by Madame after her mother passed away and her father decided to leave her in their care before moving to Africa. Therese grew up playing nurse to the often sick Camille, and eventually was forced to marry him. Camille cares for Therese as a brother, but doesn't really show any affection towards her as a husband, which leaves Therese sexually repressed. One day Camille brings an old friend home. His name is Laurent (Oscar Isaac) and he soon begins a secret affair with Therese behind Camille's back, which eventually leads to tragic consequences.

This is the third film I've seen Olsen in over the past two weeks, and despite not choosing the best projects for her I still consider she is a talented actress. She has not reached the same level she did in Martha Marcy May Marlene, but she is someone whose movies I'm always looking forward to. Despite this, I still didn't like the character she played in this film and didn't believe the chemistry she shared with Oscar Isaac on screen. This period drama really relies on that strong chemistry, but other than the forbidden love premise the film doesn't have much going for it. The film explores common issues we've seen in other better films. In Secret uncovers the tragic consequences of dark secrets and how they can end up destroying you. Only Jessica Lange fans might leave this film satisfied because she does deliver the strongest performance in the movie, but nothing else works very well in this uninspired film.

Well done, but it won't cheer you up very much

[neil-476 · 7/10 · 23 May 2014]

In 19th century France, Therese is sent to live with her aunt and her cousin, sickly mummy's boy Camille. On reaching adulthood, her aunt marries Therese off to Camille and they move to Paris. There, Camille meets childhood friend Laurent who embarks on a passionate and forbidden affair with Therese which culminates in them wishing to be rid of Camille.

If Therese had only had TV, she would have watched enough to know that this sort of thing never ends well. Emile Zola's 1867 novel Therese Raquin, retitled here, may have suffered in that characters who should be unsympathetic turn out to be quite likable and rather sad. Therese (Elizabeth Olsen) trapped into a life she doesn't like by a domineering aunt, understandably turns to an affair with wild abandon as it brings her joys she has never known. Tom Felton, not someone whose work as a child actor has appealed to me, is turning out to be quite good as an adult: he makes Camille into someone whose failings are not his fault (although I think he could have gone for a better haircut. I digress). Jessica Lange, on the basis of this film, is not ageing particularly attractively, but has become an actress of a stature one would not have expected from the 1976 King Kong: her overbearing mother/aunt, while not sympathetic to start off with, suffers terribly in more ways than one, and you end up feeling sorry for her. Only Laurent (Oscar Isaac) doesn't seem to have much in the way of redeeming qualities other than being a) hot and b) a good painter. I suspect that this may not be what Zola intended.

This film is lushly photographed, and contains good supporting performances from assorted unexpected British actors.

I have to finish with a "but" - but it's not much fun, not that tragedies ever are. It's all a bit glum and - importantly - not very uplifting (Les Miserables was glum, but left you feeling that there is something redemptive in human potential - that's not the case here, I'm afraid). So this is good, of its sort, but I can't say I came out of it feeling particularly enriched by it.

Melodramatic, Dark & Ultimately Uplifting Movie for me!!

[porgiamor · 10/10 · 23 May 2015]

I loved the cinematography at the beginning of the movie and how it quickly changed into a dark and morose tale of human manipulation. When you cast strong actors such as Elisabeth Olsen, Jessica Lange, Oscar Isaac you have a powerful intense shocking human tale of lust, revenge and tragedy.

Oscar Isaac smolders on screen and I found his chemistry with Elisabeth Olsen truly believable during their numerous clandestine rendezvous throughout the first half of this movie. Then the tension just builds up to an incredible ending with both characters totally unravelling and at the end of their tethers.

Every single actor in this film was so strong, even the supporting cast: Tom Felton was incredibly unappealing as Camille. Shirley Henderson provided light and shade in her quirky portrayal of Suzanne. Impressive acting throughout. I really enjoyed this movie because it was so dark. Yet the cinematography was so clearly focused. The resolution of each shot was so sharp and appealing to the eyes.

I was uplifted at the end of the movie because the type of existence these people had was a living hell. Hey, I thought, my life is not so bad after all, compared to what these miserable people went through...

Powerful.

[MartinHafer · 9/10 · 8 May 2014]

Thérèse Raquin is a very familiar tale from Émile Zola (1867) and it has been adapted to the stage many times as well movies. I counted at least 15 film versions of the story and they have been made in many languages— including French, German, Swedish, Italian, Spanish and English! In fact, the James M. Cain story The Postman Always Rings Twice (filmed in 1946 and 1981) is STRONGLY inspired by Zola's—so strongly that it's hard to imagine Cain having created his novel without first having read Zola's story or seen it on film. Obviously, Zola's story has touched a lot of people and has become a classic—and it's a wonderfully moving tale that is relatively timeless as the films have been set in many time periods from the mid-1800s to the present. But with so many versions out there, are we ready for yet another?

Thérèse (Elizabeth Olsen) has led a rather pitiful life. When she was very young, she was dumped on her aunt and was raised by her. However, it was not an especially happy or loving home. Instead of being treated like a daughter or even a daughter, Thérèse has become almost like a servant. Much of her time has been spent taking care of her weak and sickly cousin, Camille (Tom Felton). And, after years of doing this, the aunt, Madame Raquin (Jessica Lange), insists that Thérèse marry Camille. This is certainly no great love match—more a way to guarantee that Camille will have a woman to care for him after Madame Raquin's death.

After the marriage, the trio move to Paris and they open a small shop. Thérèse's days are spent tending the shop, her evenings are spent caring for Camille and during their free time, the three have friends over so that Camille and his mother can play dominoes. This is their life--very predictable, a bit dull and lacking in love. Not surprisingly, deep within Thérèse longs for something more—and it's easy to feel sorry for the young woman—especially since no one ever seems to worry about her needs.

One day, Camille brings home an old friend, Laurent (Oscar Isaac). How the two are friends is difficult to imagine, as they are quite different. In contrast, Laurent is an artist and is much more outgoing and handsome. Soon, he and Thérèse become lovers. As time passes, they realize that they cannot go on like this—something has to give. Plus, Camille insists that the family move back to the country. But, instead of breaking up, the pair comes upon the idea of killing Camille! However, Camille is not a bad guy. He's inept as a husband, but he's also decent and really cares about his wife—and that is what makes the lovers' plan so reprehensible. However, I should point out that all this is relatively early in the film. What follows is an interesting psychological portrait of two people whose beastly actions are, ultimately, their undoing. How does all this play out? If you want to know, see this film—and I do strongly recommend you do.

In Secret manages to tell Zola's story quite well. Although there apparently were quite a few changes in the cast according to IMDb (many folks dropped out or were replaced), the film comes off beautifully—not that it's a beautiful story, mind you! The acting is quite good, the mood (such as the music, colors and cinematography) are appropriately grim and the story has an extremely strong ending. Well worth seeing, but I must warn you that it's not what I would consider a pleasant story. Not surprisingly, I do NOT recommend this film to children! It is about adultery and murder and only the most insane parent would want their kids watching this! However, I think it's appropriate for teens and older, as it is definitely not some fluff piece glamorizing these behaviors but a well thought out story about human nature—particularly the worst aspects of it!

This film is currently available on DVD as well as through Netflix. Also, an interesting note is that Jessica Lange starred in the 1980s remake of The Postman Always Rings Twice AND stars as Camille's mother in this film. She and the rest of the cast were excellent.

This was a very nicely done film...

[juanmuscle · 10/10 · 27 February 2019]

I haven't read the source material by Zola but the film felt like it took the main points and really sifted through and disseminated all the vital instrumental points and weaved through its loom to create a wonderful tapestry of inter-connectivity with the hardcore psychological threads to culminate to a fine very fine ending, it was very very nice, a fine job!

I highly recommend this , it was definitely a good , yet tough film, a masterly work of art for sure!

OPPORTUNITY LOST FOR A SUBJECT NOIR THAT HAD THE POTENTIAL OF A SHAKESPEAREAN TRAGEDY

[msunando · 6/10 · 25 June 2020]

Young Therese (later played by Elizabeth Olsen) is left in the custody of her aunt Madame Raquin (Jessica Lange) by her father who leaves for Africa. Madame Raquin knows that he will never return and assigns Therese to be the caregiver to her sickly son Camille. Time passes by and Therese gets used to the life of confinement in the Raquin home, caring for Camille (Tom Felton) and eventually surrenders to an arranged and unexciting marriage to him. Then comes an opportunity dor the family to move from Vernon to Paris where Camille gets a clerical job, Madame Raquin rents a shop and sets up their home upstairs. One evening, Camille brings home his old friend Laurent (Oscar Isaac), a dark haired, handsome man, and a new world of excitement and adultery beckons Therese. Laurent and Therese embark on a clandestine and passionate affair that spells doom for Camille as they together hatch a plan to eliminate him.

Everything proceeds according to their plan with Camille out of the way, and the family's well wishers insist upon Therese now marrying Laurent, looking at the misery of the women, of course totally unaware of the sinister plot that led to the situation. Once married, however, the couple is soon consumed by the guilt of their crime and the ominous presence of Camille's shadow in the relationship turns matters bitter. During one such friction, Madame Raquin also learns about the truth and turns antagonistic, albeit she can do little as she is now paralyzed physically.

"In Secret" is an adaptation of the novel Therese Raquin written by Emile Zola, and could have been a tragedy of an epic Shakespearean dimension. The drama noir is accentuated by the dark setting in Paris with a depressing and poorly illuminated shop and house above. Director Charlie Stratton however makes a half hearted attempt to capitalize on the dark setting and the resultant mood with an unconvincing treatment of the psychological tussle with conscience, thus turning the tragedy into a rather soft and mellow climax. Not enough was done to delineate the "blood on the hands" state of the doomed couple that could have emphasized the extreme consequence of the once passionate relationship. Elizabeth Olsen and Oscar Isaac do their bit, but Jessica Lange is the showstopper here with a powerful portrayal of Madame Raquin, a controlling matriarch with firm hands on the reins of her family.

Enjoyed it

[adboukhair-05582 · 8/10 · 15 February 2021]

I liked it. I think it's pretty Shakespearean, so if you enjoy those kind of stories, you will like this one. Great acting.

Such a dark story but hoping for better costumes.

[jannatsbacanii · 6/10 · 5 October 2020]

I'm a sucker for historical accuracies and I was expecting Therese to have fancier hair styles but she just ties her hair in a low bun but her dresses really does help us relate to her character BUT I love the storyline.

Darkness

[fmwongmd · 5/10 · 10 September 2020]

The film was shot deliberately in somber darkness which created the right mood but detracts considerably from its enjoyment.

Love and Hate in Paris

[richard-1787 · 7/10 · 24 February 2014]

This is actually a well-made movie, but I suspect it will pass largely unnoticed.

The acting is uniformly good, the script, adapted from Émile Zola's first important novel, Thérèse Raquin, nicely done. Jessica Lange should get some sort of commendation for her performance of the older Mme Raquin once she has had her stroke and can only communicate with her eyes and facial expression. Though she is a hateful character in the novel, you can't help feeling sorry for her once she is trapped in her body, and abused by her daughter-in-law and her second husband.

The photography is also good, sometimes very beautiful. It captures both the countryside outside Paris, and the gloom of 19th-century Paris's crowded, narrow streets before Baron Haussmann created the wide boulevards we know and love today.

The problem here is that this is a uniformly gloomy story, and the movie doesn't change that any. It also moves too slowly. Granted, having read the novel several times I already knew the plot, but the movie did not hold me. I kept looking at my watch, wondering how much longer it would take to get to the grizzly, melodramatic end.

Fans of Ms. Lange should definitely see this movie for her performance. Oscar Isaac's Laurent is too "nice" for the bestial character in Zola's novel, but that may have been a director's or a producer's choice to make the movie more appealing to his fans and American audiences in general. Elizabeth Olsen is very convincing as Thérèse, but it's not an appealing role. Any sympathy we might feel for her early on is not developed, and quickly lost once she turns shrewish.

A fine production of a not particularly appealing novel.

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I watched this movie again last night, this time focusing on the question: why was this movie made?, or more specifically, what audience did the creators think it would appeal to? Though not as disagreeable as in the novel, the romantic couple are still very hard to sympathize with here, especially Laurent. There were a lot of very beautifully lit sex scenes with the two of them, however. He, in particular, was often shown bare-chested with a light that made his skin look beautiful, all rosy pink and flesh tones. Perhaps, then, this movie was made for women in their teens, 20s, and 30s, who fantasize about having sex with such a "pretty" man? (In the novel, Laurent is repeatedly described as bestial, which is not the case here.) Is this meant to appeal to readers of Harlequin romances?

Kiosk <3

[westsideschl · 2/10 · 19 June 2014]

A story and acting that came across as not believable. A plot that would barely make the level of the cheapest paperback crime/lover tripe. The writers and director didn't even bother to make the dialogue authentic. Example, words being spoken that could only come from a 21st century slang dictionary, e.g. "Hey …" and other idioms and interjections that would fit in with today's rap lyrics.

Tired formulaic storyline of seafaring father leaving his daughter with wicked relatives while he ventures into hostile sailing; promises to return; of course, doesn't and daughter grows up more enslaved than loved; then forced to marry wicked family's uncouth son. Now living in continued misery she finds true, but forbidden love. But, Shakespeare to the rescue - doesn't, predictably, end well.

Mommy dearest.

[dbdumonteil · 7 January 2020]

It was not the first time Jessica Lange had played an overpossessive mother;just check "hush" .

The most famous French version of the novel is Marcel Carné's (1953)starring Simone Signoret and Raf Vallone ;in both versions ,it's the mother-in law who walks out with the honors and literally blows her co-stars off the stage :both Sylvie and Lange are the stand-outs .

Whereas Carné's version was transferred to modern times and sometimes dramatically wandered from the novel ,this one is much more faithfull. Locating the action in the 19th century was more relevant for at the time an orphan girl without a dowry had little choice :her marriage with sickly Camille made more sense than in the fifties .The pictures depicting the gloomy shop are dark and close to a living hell where the poor wife finds solace "in secret" between two domino games ;these games are given a convincing treatment and as one of the players says :"it smells mortuary" and not only because he works in such a lugubrious place.

The Lange /Tom Felton (who sometimes recall Terence Stamp)pair overshadows somewhat the lovers ; Madame Raquin is in awe of (and in love with) her offspring and afraid to be alone (hence the second marriage).But in the second part,if look could kill,hers certainly would.

located first near Vernon ,Normandy ,although the landscapes do not evoke this region ,but the cinematography on location is really dazzling.

Powerful and Remarkable Tale of Murderous Love

[aharmas · 10/10 · 21 February 2014]

Just recently Oscar Isaac wasn't recognized for his superb work in "Llewyn Davis". Here he plays Laurent, an apparent pursuer of good times, in search of love, sex, and money. He meets a repressed and lustful young wife, trapped in a sad marriage to a man who can't give her what she wants. Add to that the pressures and conventions of an age when women can't really express their true nature and desires.

Soon, this young woman is involved in a passionate and reckless love affair that will have no good results. Defying expectations, events don't quite turn out the way we are accustomed to. After a tragic "accident", we see the main characters in the story overwhelmed by guilt, greed, and grief. Isaac shines as the frustrated lover who sees his plans fall apart. Therese becomes a ghost of herself, surpassing the melancholic levels she experienced before meeting Laurent. In addition that the grieving mother must resort to desperate measures to lessen the impact of her son's death. This is where the film shines because it's a portrayal of a complex combination of devastating and dark emotions. The exquisite photography mirrors the souls of the main characters. There is very little to cheer. Life is grim, Day to day existence is a drudgery, even love making appears forced and more of an obligation. Erotic moments are overshadowed by fear of getting caught. There is little to call happy or sexy here.

The opening scenes in the country introduce a level of meticulous detail to costumes and art direction, and it becomes more impressive in the depiction of Paris, a city that many see as the epitome of glamour, but in here there is darkness in both its exterior and its soul. We see the citizens of the place surrounded by women of questionable reputation, even the patrons of the shop appear almost anti-social. Homes are enveloped in darkness. It is amazing how spirits manage to survive.

It's been ages since I have seen a film this beautiful, so full of masterful performances, such are the portrayals of Olsen, Isaac, and especially Lange, who can convey so much feeling with a glance, a brief exchange of words, a gesture. The last twenty minutes are a showcase of her amazing talents. 2014 saw an amazing display of histrionics, excessive budgets, and rather pedestrian dialogue pass as sophisticated comedy. The range here proves that much of the dark power of erotic forces can be portrayed by a guilty look, by yearning in a talented performer eyes. Not much flesh is exposed here, no loud soundtrack is forcing us to believe these are uncontrollable passions. It is all there in a furtive hand fighting fabric to reach its goal, or the desperate yearn of human beings who aren't happy or satisfied. Unrequited love or lust brings extreme pain, and in the end the conclusion can only be destructive.

I can only hope this film finds an audience and shows us how wonderful true talent can be. I never thought noir could coexist with a period piece, that young performers could display such powerful range without resorting to overusing clever and loud wordplay. Not sure who said, maybe it was Wilder or Desmond, but it's the pictures that got smaller, not the stars. Too bad that some of the contemporary stars aren't shining the way they could. Maybe our expectations have gotten smaller, too.