In fondo al cuore

I won't rehash the plot as many viewers before me have already done that for us. I will say that I enjoyed the film, as I have always liked the work of June Allyson and Claudette Colbert.

It was a nice change to see June in a different kind of a role for her. I also liked her in The Shrike. In that one, she also turned in a very different type of role expected of her. The problem for some viewers is that they don't want to see June in anything else except Little Miss Sunshine. Now June may not have been Meryl Streep, but she was a good actress.

I think the whole cast was fine, and Robert Sterling as Claudette's adult son was very good. He and Claudette as stepson and stepmother exhibited a loving and believable relationship. It was also fun to see Elizabeth Patterson (Mrs. Trumble from I Love Lucy) as the housekeeper/cook.

As for Miss Colbert, I had the privilege of seeing her in two Broadway shows (The Kingfisher and A Talent for Murder). She gave me an autograph and we enjoyed a brief chat at the stage door. She was gracious, sweet, and still beautiful. As for the film, she was very strong and believable as the determined mother to take on all she needed to in order to provide for her children and to clean up her husband's mistakes.

The Secret Heart maybe a bit melodramatic at times, but as a product of the 1940's, it is an interesting film and well made.

This is the kind of WASP angst movie that in the skilled directorial hands of a Sirk, Stevens or Stahl would have been visually striking and dramatically compelling but in the very average mitts of Robert Z. Leonard is mostly tepid schlock with admittedly decent performances from the three leads. The biggest problem I had with it was the general blandness of the proceedings. I realize WASPS are on the repressed, undemonstrative side (I know this because I was married to one) but it's almost as if Leonard and his scenarists went out of their way to find the most bottled up and fizzled out members of this buttoned down sect in all of Rhode Island and large swaths of eastern Connecticut. Little of the dialogue in the screenplay by Whitfield Cook and Ann Morrison Chapin, whose names sound like headmasters of a dull prep school, is of much interest. When it isn't being mushy, as in the love scenes between Pidgeon and Colbert, it's annoyingly melodramatic, as in Colbert's final pep talk to Allyson that too easily "cures" her of her daddy fixation. Also in the spirit of WASP repression the screenplay leaves out essential stuff, like how Larry's first wife died, and informing Allyson's shrink (a refreshingly restrained Lionel Barrymore) that his patient has, you know, just tried to off herself. And Leonard's typically somnolent direction assures that any potential excitement, be it from Colbert's boogie woogie dance to Allyson's suicide attempt, will remain firmly latent. C plus.

PS...I counted five times Colbert was shot from her right profile. That's the kind of stuff you do when you're watching a boring movie.

I was very young when I first viewed this film in 1946 and never dreamed that this film would still be viewed and commented about in this 21st Century. All the stars in this film were great actors and gave fantastic performances and it is great to see films like this being shown and enjoyed by future generations in America and around the world. Claudette Colbert,(Leola 'Lee' Addams),"So Proudly We Hail," '43, played a very strong mother who lost her husband suddenly and found herself very much in debt and having a daughter, June Allyson,(Penny Addams),"The Glenn Miller Story",'53, who seemed to have mental problems dealing with past experiences of her father. Lionel Barrymore,(Dr. Rossiger),"Duel In The Sun",'46, was the doctor treating Penny Addams and also her mother Leola. Walter Pigeon,(Chris Matthews),"Funny Girl",'68, was a very good friend of the family and stood in the background and gave the family all his support to bring happiness to the family. This is a great Classic drama with a very haunting piano selection which is played through out the picture and adds to the deep secrets hidden in Penny Addams mind and soul. Enjoy. "

This is not a review; it's a personal experience only.

I saw this film on TV in the late 1950's (at around age ten) and, for years, have been wanting to see it again and regretting the fact that it's not available on home video. I was thrilled to learn it was going to be shown on Turner Movie Classics the other night.

I had correctly remembered the story, including some dialog (Dr. Rossiger: "Your daughter is in love with a ghost, which means she's on the brink of disaster!"), and the central role of the music. The composer, Bronislau Kaper, skillfully used the Liszt Piano Concerto #1 throughout the film, including during the climax scenes. I had actually studied and performed this piece with a symphony orchestra at the age of 19; how stunning to hear the orchestra's opening chords under the MGM lion, followed by the piano's imposing solo entrance as the film's title appears. The Chopin Nocturne in Db, my personal favorite, is the romantic piece played in the film by both Penny and her father; Kaper also used its theme creatively in his underscoring. (I'm unable to identify the other, more mournful piece that runs through the film.)

I remember being smitten with June Allyson when seeing this film as a child. The other night, it was interesting to realize that, 45 years ago, I hadn't noticed the stunning Claudette Colbert!

Thanks for sharing my reminiscences. Here's hoping that MGM might see fit to release "The Secret Heart" on DVD.

An oddity that comes closest, I think, to a noirish family drama. Troubled Penny (Allyson) is obsessed with her dead father, causing problems with her stepmom (Colbert) especially when they become rivals over affections of family friend Chris (Pidgeon). It's a June Allyson seldom seen and a long way from her usual bubbly roles. Still, she handles the disturbed daughter's antics in effective fashion. Those scenes at cliff's edge bordering an eternal sea are eerily enchanting and a tribute to the production crew. This was a period following the war when movies with strong Freudian themes were popular, including Bewitched (1945) and The Snake Pit (1948). .

The acting is first-rate, and I especially like Sterling as the upbeat Chase who furnishes a counterpoint of normality to the moody family atmosphere. Pidgeon too is suavely effective, though his Chris seems a little dense about Penny's obvious designs on him. The version I saw (TMC) didn't include the narration by Hume Cronyn listed in the credits. Perhaps it's just as well since the movie works well enough without a voice-over. The ending is about what you'd expect from this Code enforced period and is way too pat for what's gone before. Nonetheless, it's an effective little exercise that manages a shade of difference from other programmers of the period.