The movie centers on a black woman named Hortense (the multi-talented Marianne Jean-Baptiste) who, knowing she is adopted, is in the process of trying to discover the identity of her birth mother. She finds her real mother, a lower-class white woman named Cynthia Purley (Brenda Blethyn). Cynthia, unaware that Hortense is trying to look her up, has a more immediate problem - a rebellious daughter, Roxanne (the unfairly ignored Claire Rushbrook), who has no respect for her because of Cynthia's many affairs. Cynthia is also trying to reach out to her successful photographer-brother, Morris (perennial Leigh favorite Timothy Spall), but she can't quite get close to him because of the influence of Morris's seemingly cold wife, Monica (Phyllis Logan).
If anyone knows anything of Mike Leigh's style of direction, you'll know why this film is so amazing . . Leigh doesn't simply write a screenplay and tell the actors what to do, he allows them to improvise and develop the characters themselves; the result is that these characters are more than just one-dimensional cardboard cutouts. ALL of these characters are unable to be categorized; they have characteristics that are UNIQUE and that make us care about them. Their complexity is illustrated not only in their actions and by what they say, but by what is NOT done or said in specific instances. ACTIONS of the characters are important (notice, for example, Hortense's inability to react emotionally, even in the family setting, or her reluctance to touch anyone). Another interesting feature is the way Leigh juxtaposes scenes of Morris taking pictures in his photography shop with the events of the story; we even become enamored by the characters that are seen only briefly, for a second, behind Morris's lens, posing for photographs. The cinematography also helps to add to the film's realism; it has a camcorder effect, without being at all shaky or deficient in sound quality.
Finally, the ending: Some may find the ending overly sentimental; I found it remarkably real (and nowhere NEAR as sugary sweet as those found in Hollywood films). Let me only say that it succeeds in that the viewer isn't given total resolution, yet he is given HOPE; these characters CAN work out their problems with each other, and it raises a question that I (as one who is no stranger to family feuding), find very convicting: why, in family situations, do people so often choose to alienate themselves and suffer alone (often even punishing their loved ones, as illustrated by Roxanne and Monica), instead of SHARING their pain and helping one another?
A great film . .worthy of much praise and able to withstand repeated viewings because of the depth of the story and the people involved. Here's hoping Mike Leigh will retain his style of filmmaking for years to come.
Mike Leigh wrote this brilliant script and with skillful direction made this film unique and realistic. Brenda Blethyn gave an excellent,flawless performance as Cynthia Rose Purley. With creditable supporting casts like Marianne Jean-Baptiste as Hortense, Timothy Spall as Maurice Purley etc..
This compelling movie made me wonder--"Does the truth really hurt"?? It also showed the importance of family support,love and care.
I absolutely loved TOPSY-TURVY, but I am not sure but that SECRETS AND LIES is the stronger film. Less flashy, and I can easily imagine someone who does not enjoy dealing exclusively with interpersonal dynamics not particularly enjoying this. But for anyone who can appreciate an intense family drama, this film will be tough to top.
But the thing that most impressed me about SECRETS AND LIES is the acting. Brenda Blethyn was even better here than she was in LITTLE VOICE. In fact, I honestly do not know of any performance by an actor or actress anywhere that I can say is demonstrably better. I just sat in front of my VCR agog at her performance. I later read that she won the Best Actress Award at the Cannes Film Festival, the British Academy Awards, and the Golden Globe Awards. The only award she failed to win was the Oscar, for which she was nominated, but which went instead to Frances MacDormand in FARGO. I loved FARGO and thought MacDormand did a great job, but if you watch these two performances side by side, you gain additional proof that the voters for the Oscars either do not watch all the films or see this as a sort of popularity contest. Frances MacDormand's performance was cute and her accent was convincing, but Brenda Blethyn's performance was the emotional equivalent of a fist to the guts. Brenda Blethyn should have swept all the acting awards that year with ease. I honestly do not remember a performance anywhere in which so much genuine, intense, and overwhelming emotion is projected. If you have not seen this movie, you owe it to yourself just to see Brenda Blethyn inconceivably great performance.
I was also pleased to see Timothy Spall again, who did such an excellent job of playing so sympathetically Richard Temple (the actor who created the title role in THE MIKAIDO) in TOPSY-TURVY. I have not seen him in every many roles, but after seeing him perform so well in these two very, very different roles, I very much want to see him again.
