Secrets and Lies

My friend and I were first introduced to Mike Leigh through the 1993 under looked film “Naked”. It is our running  joke/belief that David Thewlis vagrant, philosophical rapist, was just Professor Lupin before his tenure at Hogwarts Academy of Wizardry and Witchcraft. So maybe you can make an argument for Timothy Spall reversing from mild mannered blue collar worker in "Secrets and Lies" to a conniving weak willed wizard in "Harry Potter". 

“Secrets and Lies” Mike Leigh’s 1996 tale is quite different then “Naked”. It follows the life of a working class London family and a decades old secret coming to light, which comes full form in this solid piece of film making. Outside of my opinion it managed to grab a Palme d’Or and a handful of nominations, mostly for the acting.  It takes the very safe Oscar bait dysfunctional family stream but manages to swim against the current of melodrama. It remains true and honest without a trace of saccharine falsity found in most films of this genre. 

 This is expertly managed through the cast which elevate the cast of conventionally flawed characters and inject their own little intricacies and improvisation. Timothy Spall does a phenomenal job in as the brother and husband (Maurice), who is weathering the storm.  The film wears its story on its sleeve and does not involve elaborate imagery or metaphors to get its theme across. However the poignant profession of Timothy Small’s character as photographer is an effective way to symbolically tie the theme back into the story.  Maurice takes an instant image of a false set of reality for his clients; at times they are bickering, fighting, or holding of traumas, and insecurity. It is up to him to create a photogenic veil of security, holding the peace. By creating a family or lovers portrait to hang over the mantle of the fireplace.  He does the same thing for his family; he harbours them, caters to their needs, and listens. However when its push come to shove, he never takes the ideal picture but rather,  unveiling the devastating secrets and lies within the family. 

 However, it is not only Mister Spall who does an outstanding job, Brenda Blethyn playing Cynthia does it with such sincere and true gravitas, it is remarkable she didn’t win all the acting awards that year. Her inhibitions and inclusions to the psyche and outward expression of her character are phenomenal. The rehashing of questions or badgering Cynthia exhibits throughout the film walks a thin line of being pestilent and one of sympathy, Cynthia being so ignored throughout her life she is yearning to be heard.  It is a hard decision to decide between Brenda Blethyn and Frances McDormand as who deserved the Oscar that year. But perhaps not as hard as the decision Cynthia had to make throughout the film.  

 The technical aspects of the film are not noteworthy, but perhaps because of its immersive qualities, we can praise them. The camera never wavers and remains stagnant and eye level, the audience is given the job of being a rational observer, letting the actor’s carry the dramatic plight and thus is not manipulated by technical decisions. The music however is overbearing and orchestral, the grand feeling becomes a juxtaposition against the simple family. Their beliefs and hopes to aspire outside of anything is only rewarded and cultivated through this 4th wall breaking use of sound.   

 In the end, “Secrets and Lies” is a fascinating tale taking on a simple subject brought forth through spectacular acting and directing. My only complaint is that the resolution of the film and the “reveals” did not feel satisfying. It left a lull in the heart and emotions of the viewer, the actors carried everything with such weight, it felt as the plot let everything go.  However this is a mere grip in the grand scope of things, and the film merits a watch regardless of far and in between issues.