Frauengeheimnis

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 .

Everything is perfect about this film, the story, the actors, the direction, Wise at an early stage extremely efficient, and even the music, never dominating but always reflecting the right mood. This is a literary film telling the stories of three women who all had to give up their only child because of circumstances, usually related to the war: the child was born September 15th 1944, so they all got pregnant at the highlight of the war, one by a soldier who had to obey orders, and the other two by men who left them - one of them we'll never even see. At the same time, it's a great story of journalism, Patricia Neal making the almost too perfect journalist which costs her her marriage, and the insights into her handling her profession in the quest for saving the child from the top of a mountain are almost documentary in their authentic character, while at the same time it develops into somethinbg of a thriller - there is even a murder here. Enough said, only superlatives, and they can only be repeated and continuously insisted on.

A young boy is the sole survivor of a plane that went down in the mountains and a rescue mission of mountain-climbers are on their way to get him. The news flash reveals that today is his birthday and that he had been adopted through a certain agency. When Eleanor Parker hears this, she loses it, as she had given her baby up five years ago and that today would have been his birthday. She never told husband Leif Ericson. She hightails to the site where the press is stationed near the mountains. There she meets Patricia Neal and Ruth Roman, who both had used the same agency to give up their babies on the same day. Through the device of flashbacks, we are allowed the story of each and how each came to this point of their lives. This is excellent little film with great actresses for the lead roles, fleshing out the characters and making them three-dimensional. I grant you actresses like Bette Davis, Susan Hayward, and Joan Crawford has guts, but no one could quite deliver a line like Patricia Neal with her sarcastic coyness. And, Ruth Roman is one tough cookie, too. But the story is what really takes center stage with a taut pace and the outdoors being used to good advantage by the film's director. But who's baby is it? We are told, but there is more to it than any happy ending. The film reflects the struggles, loves, and yes secrets of three women, who were existing in a world and trying to come out a survivor, and that's what makes this film successful: the story of people. People are the story.

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.