Segredos e Mentiras

Mike Leigh's superb comedy-drama of family relationships. Heart-rending, bitter and delightful by turn

Leigh's modern classic captured a brace of Oscar nominations but went home empty handed in the face of The English Patient's near clean sweep. Even Blethyn's Cannes-winning performance lost out to Frances McDormand's Fargo turn (hard to challenge this decision, although in any other year the brilliant Blethyn would have deserved to win). The film eventually racked up a considerable number of awards, its Oscar success aside.

The story, every bit as believable and real as the rest of Leigh's work, centres on a woman, Cynthia Purley (Blethyn ), whose mid-life crisis is further exacerbated by the appearance on the scene of the daughter she gave away at birth, the wonderfully named Hortense Cumberbatch (Baptiste) - a young, beautiful, professional black woman who causes a few eyebrows to be raised in the family, and forces Cynthia to come to terms with her past.

Alternating between high comedy, scathing one-liners (Blethyn telling daughter Rushbrook she has a face like a "slapped arse" is a moment to treasure) and tear-jerking poignancy, with Spall, Rushbrook and Baptiste all offering strong support, this is nothing short of superb.



Verdict A genuine hit for Mike Leigh, Secrets And Lies has the coarse grain of real life, sympathetically and affirmingly fashioned.

The way Leigh weaves a story here - no screenplay, just tell the actors what the scenes are supposed to do, give them an outline, but don't give away the punch line or the ending - shows up in the final print. This is cinematic magic, with Blethyn turning in one of the most breathtaking performances ever seen on the silver screen. The transformation into Cynthia Purley is total. Study especially the scene in the cafe in Holborn - story has it these two principals had not met before shooting this scene, and the scene goes on forever, and puts incredible demands on both actors, especially Blethyn, who is simply unreal in her abilities. All do a great job here. This is not a light comedy. It will tear at you, thanks in part to the evocative music, but at the end you will go 'wow' and feel good for having seen it.

This is a lovely, small film with beautiful performances by Brenda Blethyn and Marianne Jean-Baptiste. It is filled with comical moments that balance out some of the heavier parts of the film. My heart went out to the two lead characters as they struggled to make sense of the mutual bond unearthed by Ms. Jean-Baptiste's character. At once confused, hurt, shocked and afraid, Ms. Blethyn is completely convincing in her role. I was moved by her decision to enter into a relationship with this woman whom she had never before met. Perhaps the fact that Ms. Blethyn and Ms. Jean-Baptiste had never been introduced prior to the scene in which their two characters meet added to the realism of that moment. And Ms. Jean-Baptiste's portrayal of a woman who is surprised by her discovery and not a little disappointed was dead-on, as is her dogged determination to get what she came after.

If you are searching for a movie brimming with action, special effects, and/or blockbuster stars you need to pass this over. But if you are in the mood for a film that offers winning performances and an entertaining storyline that grows out of human interaction, this is the one you're looking for! "Secrets & Lies" is a gem of a movie!

Brenda Blethyn, Marianne Jean-Baptiste, Timothy Spall, Phyllis Logan, and Claire Rushbrook star in "Secrets & Lies," a 1996 film written and directed by Mike Leigh. The script is actually improvised, with the actors learning what the characters learn as they go along.

Brenda Blethyn is Cynthia Rose Purley, a factory worker and single mother with an obnoxious daughter, Roxanne (Rushbrook). Cynthia is dependent for the occasional handout by her successful photographer brother, Maurice (Spall). Maurice lives in a lovely home with his wife (Logan); Cynthia can't stand her and the feeling is mutual. Maurice no longer has the relationship that he once had with his niece Roxanne, and this bothers him.

Cynthia gets a call one day from a woman named Hortense Cumberbatch (Jean-Baptiste) who claims to be the daughter she gave up for adoption. After some hemming and hawing, Cynthia agrees to meet her at a subway stop. When she meets Hortense, she's shocked. Hortense is black.

This is a wonderful, poignant, and funny story with just the right amount of drama and humor. The scene in the restaurant, when Cynthia says that Hortense couldn't possibly be her daughter because she's never been with a black man is absolutely priceless.

The performances are tremendous. Brenda Blethyn is marvelous as the fragile, needy, eager to please Cynthia, though the character gets a bit annoying with her high-pitched voice and constant talking. Timothy Spall plays a big man with a big heart and will bring one to tears toward the end of the film. It was great to see Phyllis Logan from Lovejoy in such a marvelous role, and she does a great job. Marianne Jean-Baptiste is wonderful as a successful young woman who fights to keep her equilibrium when she's in the midst of a family explosion.

Really enjoyed this -- and I guess the name Cumberbatch isn't as unusual as I thought.

With modern films placing so much emphasis on visuals and sound & the stage specializing in avant-garde drama or comedy, it's rare to find old-fashioned storytelling outside of books. But it's rare at any time or in any medium to find a work combining such smartness & sensitivity as "Secrets & Lies." After the deaths of her adoptive parents, urbane young London optometrist Hortense (Jean-Baptiste) searches for her biological origins and locates her mother: alcoholic, neurotic, once-promiscuous factory worker Cynthia (Blethyn, in one of the finest film performances of all time). Each is stunned to find something about the other that neither knew: that the mother is white and the daughter is black! The film has sideplots rather than subplots, two other stories developed in depth, parallel to the main story, although Leigh masterfully uses them to support rather than weaken the central relationship between Cynthia & Hortense. Cynthia's daughter Roxanne (Rushbrook) is coming of age and exploring love, work and independence while struggling between the love, pity, resentment & disgust she holds for her mother. Cynthia's brother Maurice (Spall, a roly-poly, English Jimmy Stewart), a prosperous but overworked studio photographer, gives the family name a facade of middle-class respectability even as he & his wife Monica (Logan) carefully conceal an embarrassment of their own. Through a variety of small, seemingly random but fascinating illustrations like the Canterbury Tales, the film hammers home its theme: that lying & deception become not just easy but casual in an age that emphasizes individualism & responsibility, where you assume that no one, not even the closest of your relatives, wants to hear about your problems. Rather than help one another, each suffers alone, while every lie they so readily spin must constantly be fed with more deception. A story that could have been both preachy & crushingly depressing is cut with just the right amount of humor in all the right places, until the heartbreaking climax that is as powerful as any ever filmed. There isn't an air of judgment or lecturing morality, no attempt to make a sweeping commentary of society. If any such message is delivered it must be derived from the story. In a superb cast Blethyn stands out as the haunted, tormented Cynthia, hurt & angered by the contempt & pity she sees in the eyes of her brother, sister-in-law & daughter as she staves off nervous breakdown with the bottle. Yet she can't bring herself to turn away again from the child she gave up long ago, even though only she knows how much pain lies ahead if she doesn't. Jean-Baptiste provides a stark contrast as the cool-headed but intense young woman who might be repulsed by the coarse, painful world in which Cynthia lives, yet never shows any reluctance to enter it. There's a spareness about the film (so many scenes go without music that you're often surprised to remember that there IS a music score) that engrosses the viewer, making him concentrate, rather than giving an air of cheapness. It's not Shakespeare or Greek theater, since no one gets stabbed or finds out he's married his mother, but Tennessee Williams or Anton Chekhov would have been envious of this effort.