Something to Hide

"Something To Hide"? A better title would be "Something To Regret" as that would accurately describe how I felt after watching it.

This is the director, Alastair Reid, trying his hand at the French style of cinema, and he has proved that French cinema is an art-form best left to the French. It is a craft that needs to be learned from masters of the art.

They know how to use strange camera angles, close ups of random objects, long, slow pans and short scenes using un-connected, incidental characters to produce atmosphere, build interest and intrigue, and hold attention. I'm afraid Reid's attempts are a flop.

His close ups (a boiled egg, a typewriter, an eyeball and many other objects), his long, slow pans (one being totally out of focus), the random shots of people on a beach, children playing, frequent shots of a mechanical digger cleaning the beach, noisy old women in a shop are meant to be atmospheric and evocative, but they are perfect examples of how to get things not-quite-right when an un-trained hand tries to copy a style.

Had those techniques worked as they should, then the music would have been right too, but playing behind such bland and uninteresting scenes, the accompanying music - "Concerto For Harry" played by The Royal Philharmonic Orchestra no less - simply seems pretentious.

I'm sure Reid was strongly influenced by Jean-Luc Godard's Week-end (1967), "Something To Hide" even has a scene where Harry is stuck in a traffic queue caused by a car accident ahead, as does Weekend. I'm afraid that even fans of French cinema will feel let down by this attempt. Just as you don't want a dentist trying his hand at heart surgery, you don't want a British director trying his hand at French cinema.

But perhaps the plot can uplift this film into something worth watching. Sadly, no, as it doesn't really have a plot, it is just a series of events, as is Godard's Weekend, that lead up to a climactic ending.

Harry Field (Peter Finch) is a man with a drink problem and something to hide, and having something to hide, he constantly covers up, makes excuses and lies, very much like the character he played twenty-three years earlier in Train of Events (1949).

The opening scenes are of Harry and his wife, Gabby, (Shelley Winters) spending an evening together and having dinner. It is the energy and charisma of Winters that makes these scenes worthwhile. She could have delivered her lines to a shop window mannequin or even an empty chair with equal success, such is her performance. Finch need not have been present.

Then, Shelley Winters was gone and we were left with the unbearably cheerless and grumpy Harry going about his life, and this was where the tedium set in as we followed Harry's domestic routine.

He gets up, shaves, goes to work, or some days doesn't go to work because he has a hangover, he cooks a meal and it is all mundane and dismal until he gives a lift to a young woman, Lorelei (Linda Hayden) who coerces him into putting her up for a few days. She disturbs his domestic routine and is thoroughly troublesome.

Then lots more of the French style - a man lighting a bonfire, long, sweeping shots of the outside of the house and later, one like that but at night, people building a huge sandcastle, a close up of the knobs on the stereo system - Reid must have thought these shots were interesting additions to his building the relationship between Harry and Lorelei, but they just slowed things down so much that it was hard to sit through.

This was too slow, too much time-wasting, no actual plot, just happenings, unlikeable characters and by the time it got to the climactic ending, I didn't really care, and so the emotional impact was lost on me.

When it got to the end, I wished that I hadn't wasted my time. I've seen films before that I didn't enjoy, but I'd never before seen one that was so utterly devoid of anything to make it worth watching. If ever there was film that wasn't worth watching, this is it, a total waste of time. See Jean-Luc Godard's Weekend to see how it should be done.

Harry Field had a drink problem, and trying to sit through this was such hard work,it almost drove me to drink.

Dire. Avoid! Harsh words, but deserved.

I really like this movie but am distressed that the US video SHATTERED runs 86 minutes while the film should run 99 min. The video box claims 100 min, so something is clearly off with the Media release. I have no idea what is missing from the US version but there are scenes that cut off abruptly and the ending also seems tampered with. Peter Finch gives a mighty performance as a man who is hanging by a thread. His involvement with a young pregnant girl seals his fate as he gets sucked in over his head and then makes a very poor decision about how to dispose of unwanted refuse. If anyone has seen a version other than the US video release I would love to hear some details.

This film always played around Christmastime. I watched it late one night, and it has haunted me ever since. It is a must see. Watch it 3 or 4 times to really absorb what the characters are experiencing. Powerful performances make this thriller haunting. One must pay special and careful attention throughout the entire film. It contains surprises, very interesting characters, and a truly haunting story line. It is a perfect film to watch on a cold afternoon with a cup of tea or hot chocolate. The stormy British weather adds so well to the stormy plot. Even the supporting characters in this film are intriguing. The contrast is excellent. The juxtaposition of Winters and Finch is unnerving. You will not forget this one. Everyone seems together when they mention their being haunted for years.

See it if you can find it. Great cast, writing, plot, photography. I saw it years ago and it's stuck with me since. There's not many films that do that. I was pleasantly surprised to see Shelley Winters in such a small role at a time when she was so highly regarded as an actress. I think the unique way the plot unfolded was what stuck with me. Amazing yet simple thought process the writer displays.

This low-watt British thriller has never got a decent release either on DVD or VHS, despite strong performances from three great character actors.

Peter Finch is, of course, best known for playing a crazed news anchor-man "Howard Beal" in "Network", a role for which he won a post-humous Academy Award. But his other famous role was as a beleaguered husband in "The Pumpkin Eater", a role very similar to the one he plays here. Shelley Winters plays his nagging, shrewish wife. She is good as always, but doesn't have nearly enough screen time. The real surprise though is Linda Hayden, famous for playing sexy, evil (and oft-naked) vixens in movies like "Blood on Satan's Claw". Unfortunately, her best movie, "House on Straw Hill" was actually banned in Britain back in the day and, as a result, has been barely released outside it. And her earlier collaboration with director Alistair Reid, "Baby Love", is also problematic since she debuted in this rather sexy role at the tender age of 15.

Finch plays a decent, well-meaning husband whose life is entirely destroyed by his own horribly bad decisions and two different female harpies--his wife Shelly winters and Linda Hayden, a very pregnant hitchhiker he picks up. Instead of playing her usual sexy and evil, Hayden is just plain evil here, and never has a pregnant woman seemed so menacing. I won't give away the plot, but Finch's character soon has at least one body on his hands as his life spins into blackly comic, vortex nightmare.

I saw the crappy, cut VHS version of this (the only one currently available), but even so it is a quite entertaining movie. It certainly deserves better.