Secret People

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.

Secret People (1951)

A British production, and very much about their view on the coming of World War II. It's gritty, interwoven with several main characters, and fairly dark.

The film is a kind of revisiting of the build up to the war from one small personal point of view, filled with intrigue and international mixing. There are migrants and immigrants and a growing threat of an unnamed evil (though swastikas do appear in some inserted footage). It's complicated and exciting. Some key scenes happen early on in the 1937 Paris Exposition. It whispers and then it shouts. Most of the action is in mysterious London.

The key actor, in my view, is Serge Reggiani, who is Louis, the evil foreigner up to disrupt the uneasy peace still alive in London. He has a subtle touch to his sinister intentions, and it lifts the movie up. The actual main character is also excellent, the tortured and trapped Maria played by another Italian actor, Valentina Cortese.

It might be easy to look back at these times from more than a decade later. But it isn't easy to make it fresh, and to keep the tension make sense. Of course, now it is 60 years later and it becomes more of a drama with historical roots that have to be told by the movie, not assumed. At times the movie pulls this off with surprising sharpness. As the police get involved, it gets curiously complicated, good guys vs. bad guys, with no one quite fitting the clichés of other movies. The idea here is that the enemy is unexpected, and everywhere.

It should be mentioned that we have Audrey Hepburn, whose first movie appearance was just one year earlier. She's not quite the Audrey we all know, but almost. Briefly. Great to see.

The more I watched this movie the more I liked it. It might be an underrated gem in some ways. There is so much going on and really dramatic filming with often nearly pitch black scenes, inside or out.

A final note. A chap at one point says, surprised, "A London girl made good coffee." How times have changed.

Valentina Cortese, daughter of pacifist anti-fascist, makes the best of exile in England with sister Audrey Hepburn. When the strongman who killed her father comes to England, will she resist the entreaties of her father's political friends to help them, or will she join THE SECRET PEOPLE? This is quite a good film -- but it is much more a character study of a woman who suddenly finds her ideals and her peace of mind threatened because of her position - then it is a straightforward spy vs spy drama. Audrey Hepburn, on the cusp of stardom, is given a role that highlights her talents without taxing her abilities. (She plays young and dangerously innocent beautifully. Her ability to do this is what makes the end of the film work.) But the movie rests on the ability of Valentina Cortese to seem intelligent but scared, vulnerable and terribly conflicted. This is a really good role that gets a really good performance.

Is this a classic for the ages? Not quite -- I like the characterization of one of the commenters as "near masterpiece". There's a deliberate lack of suspense in the film -- the results of one of the key actions in the film is so telegraphed in advance that the sequence surrounding it might be the dullest patch of the film, and the build up to the final climax is oddly lacking. But, if you have a dog- eared copy of Conrad's Secret Agent, you'll recognize the dark but dowdy milieu, and appreciate that Ealing's dedication to the use of location filming is put to good -- if very un-Ealing like -- use here.

Worth the time.

It was said that the director Thorold Dickenson and his colleagues viewed Hitchcock's "Sabotage" before starting this film, and I'm not really sure if they learned anything. I do agree with both of the first reviewers for this in that it did have some promise, but it fell short. Perhaps because of the long delay before actual production of the project got under way when Ealing Studios saw it as an unusual product worth tackling.

Valentina Cortesa did a marvelous job as a foreign refugee living in London who gets caught up in the intrigue unwillingly.This film was one of the only ones that I hadn't seen of Audrey Hepburn's earlier works. Although she only appears in it off and on she is given a broader speaking role than her previous earlier film 'walk-on' parts. She was quite able to act with the best of what this British Film Company had to offer, in a role a bit too understated for me. In fact, the whole film was a little too 'understated', dealing with a bomb plot planned by nationals of a foreign tyranny in 1930's London.

I would watch this again, as it is now part of my library of hard to find films. I gave it an eight out of ten stars for Cortesa's performance and the early glimpse of Hepburn beyond a one minute spot.One does walk away from this film wishing it was better given it's premise, which is still very much a topic of today as it was then.If you can find a copy I would recommend it.

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.