Secret People

The Secret People is worth seeing as much for what it did not accomplish as for what it did. It seems to me that only Hitchcock's Sabotage deals with the same sort of moral dilemmas that this film attempts to portray. Both Sabotage and Secret People were filmed in dark London streets and ominous back streets. In fact, the cinematography is literally so dark that it is often difficult to make out the action. In both films, an atmosphere of dread and secrecy hangs over the characters. However, despite the strong bond between the sisters, you never feel the same anguish shown in Sabotage by the wife of the saboteur. The film could have been a lot more forceful in setting up its moral conflicts. Of course, it is worth while just to see the young Audrey Hepburn dance classical ballet, something we were never to see again on film. And to see her before she became a major star. No Givenchy fashions in this one!

This is a seriously under-rated work of classical British film art on a compelling subject and is as relevant to London life today as it ever was. Considering this film was released in 1952 it explores so perceptively the path from praiseworthy ideology, through working for a noble cause, into terrifying involvement in an act of pure terrorism. Right through you are steadily but inexorably drawn with a lure of truth and justice, into a slowly evolving web of intrigue, conspiracy and ultimately murder, and it leaves you wondering at which point do you actually stray from idealism and decency into cold depravity? Given the '50s context, centred on an urban minority family, the actual plot is still frighteningly relevant and this film is surely just waiting for a re-make to bring it chillingly up to date. Until then, if you can find a copy of this film, watch it - its a vital and absorbing education, in the grand old style, on the strong subject of ideology.

Maybe the most important thing about Secret People is the fact that William Wyler took a look at this film and decided that his next film Roman Holiday would star an unknown Audrey Hepburn. Hepburn plays a supporting role as the younger sister of Valentina Cortesa. Both are refugees from some unknown eastern European country where the two of them had their father killed by the local dictator.

Audrey was still a kid when she and Valentina came over, but now she's grown up and an aspiring dancer. As for Cortesa she's content enough until Serge Reggiani shows from the old country. He's with the opposition to the dictator and they want to kill him in London while he's on a state visit. So far it sounds like the plot of Hitchcock's The Man Who Knew Too Much.

But this film is told from the point of view of the conspirators and how slowly Cortesa is drawn into their web of intrigue despite a lot of misgivings. Every agonizing thought so registers with Cortesa and her performance even after Hepburn who has adjusted well to Great Britain and wants to pursue a career in dance.

As for Reggiani the years have turned him into quite the fanatic. Today he would be called a terrorist.

Secret People is done a bit unevenly in pace, there are spots it drags. But Cortesa and Reggiani carry it through and it's a milestone of sorts for Audrey Hepburn.

Simply put "Secret People" is about terrorism.

Maria Brentano (Valentina Cortese) and her younger sister Nora (Angela Fouldes/Audrey Hepburn) are sent to live in London with a friend of their father's; he is ultimately killed by a European dictator, Galbern. Maria becomes a citizen and changes her name to Brent and works in her guardian's restaurant, while Nora pursues a career as a dancer. Seven years pass, and their guardian takes them for a weekend in Paris. There, Maria sees her boyfriend Louis (Serge Reggiani), from whom she has been separated for seven years.

Serge and his group are now plotting the assassination of Galbern, who is visiting London. He arranges for Nora to be hired for a private party which will be attended by Galbern, and Maria will be a guest. He pressures her at the last minute to carry a bomb and pass it to someone who will be at the party. The plan goes awry and a waitress is killed. Horrified, Maria goes into a sort of witness protection and is sent back to help capture Louis and his group.

Terrorism coming into and hurting ordinary people, fanatics who believe in their cause -- it resonates today. The acting is very good. Valentina Cortese is excellent as a loving and protective woman drawn into something by the man she loves. Audrey Hepburn is sweet and very girlish as Nora, and Serge Reggiani as the smooth Louis does a great job. This role must have hit close to home for Reggiani; his father was a prominent anti-fascist and fled Mussolini in order to protect his family. Everyone in the film is good.

Valentina Cortese was interviewed for the Audrey Hepburn biography on which I worked. She adored Hepburn, and the two of them used to go to nightclubs together and even at one point tried smoking cigars. So it was especially interesting for me to see this film. Despite some negative reviews here, I found this a worthwhile film.

British thriller from Ealing Studios and director Thorold Dickinson. In 1930, Maria (Valentina Cortese) and her little sister Nora (Audrey Hepburn) are sent to London from Italy to protect them from the rising militarism there. By 1937, the two women have acclimated to their new lives, although Maria is becoming restless in her cafe job. When she runs into Louis (Serge Reggiani), a young man that she knew back in Italy, Maria quickly becomes enamored with him, and fails to see that he is using her for a sinister purpose. Also featuring Charles Goldner, Angela Fouldes, Megs Jenkins, Irene Worth, Reginald Tate, Norman Williams, Michael Ripper, and Athene Seyler.

This murky espionage thriller is short on thrills but not completely without merit. Cortese isn't bad as a woman in over her head. Hepburn, as an aspiring ballet dancer, has her biggest pre-Roman Holiday role. She's cute, but her role isn't fleshed out enough for her to make any sort of acting impression.