Tödliches Geheimnis

All rather refreshing for me. The subject has been done before of course, but I can't recall it being too often and not with as much class as this, at least in the UK, at that time.

I can't really add to the reviews on the plot and subject matter, only that I thought Burgess Meredith played his part very well in this, and gave us a complex character with his own questions. A shout for the other actors as well, who all put in strong performances with their characterisations too, regardless of the amount of screen time. There is even an uncredited appearance of Michael Horden in this, and I also had sympathy for the kid who briefly opens and closes the film really, with his two contrasting appearances.

The general look of this B/W film and feel of the film is also very good, with a well written script all combining to give this film an entertaining atmosphere about it. I particular liked the scene where there's some subtle frisson going on in the room, and there is the most minimal of eye movement happening between the actors, bar one, that say it all.

About two thirds of the way through, I thought where is it all going, as it didn't seem to be going anywhere in particular, then I thought, so what, I'm enjoying the ride. It was a good ride too, as the strands came together and the pace picked up, with a well done tension highlight (Hitchcockian, some say, and I agree) in a rescue scene.

Surprised to see that Director, Anthony Kimmin's previous films included quite a few George Formby films filmed prior to the war. This was his first after the war, and bears no relation whatsoever to the Formby films.

If you have the time, and enjoy old B/W movies, this very well may be for you.

The first film to explore the use of lay practitioners in the Freudian theory, this film is so far ahead of its time as to be psychologically shocking. American Burgess Meredith's performance is one of the best of his career. The absolute certainty with which he portrays the uncertainty of the human psyche (his own as well as others') is the film's brilliance.

Torn with personal ambivalence, Felix is also torn with the knowledge that he is unable to save his worthwhile patient and his loving wife. A truly under-acknowledged and underestimated film, it deserves a viewing by all interested in film art, and in the development of psychoanalytic technique.

It comes as a surprise watching this to discover that psychiatry, in this country, was in such a state of infancy. Although it was about to be introduced into the NHS, in the early post-war years the insane asylums, where anyone who didn't fit the norm, tended to be tossed still prevailed. The mental effects of warfare were a factor in alerting the authorities to cause and effect more clearly than early childhood incidents, which parents tended to do their best to conceal. So, here we have a film of vital social interest, so intriguing and indeed stunning a 1947 audience that the film receive many plaudits and became the official British entry at Cannes. Burgess Meredith puts in a fine and convincing performance and the entire film is presented in such a way as to titillate, excite and inform with the added bonus of a scary suspense element and killings.

Interesting a previous reviewer said it might be the first film to feature psycho therapy. When I was invalided out of the army through Northfiuelds Hospital not long after the war my psychiatrist recommended I should read the book. Don't think I did. I worked in the Pinewood Story Department later and met Nigel Balchin. He had been in the army but had done better than me - rising to Brigadier General I think. Booze got him alas.

In this or one of his other books he used the words 'Boffin' for scientist and 'back room boys' - words that have gone into the language.

I will simply concur with most everyone else who has praised this excellent film and add only that it certainly wasn't underrated when it came out: critics were unanimous in their praise and the film was even selected as the British entry in the 1947 Cannes Film Festival.

The only pity is that the only thing that seems to be available on DVD or video are horrible copies that do not do the film's visuals justice. It can only be hoped that this is corrected one day soon.

I must correct one of the writers who credits the film's fine cinematography to Freddie Francis. The cinematographer on the film was in fact Wilkie Cooper, who did so much brilliant work throughout his career. Mr Francis did work on the film, as Cooper's camera operator. But the lighting, composition and creating of visuals was the work of Cooper and that fine art director William Andrews.

See the film. You won't regret it.