Secrets & Lies (A- or 3.5/4 stars)
In life, most people have harbor 'Secrets & Lies', but it's rare to see the kinds of secrets & lies that you do in this film, directed by Mike Leigh. This film starts curiously, but we find our way a few scenes later. 'S&L' opens in London with a funeral, of all things. Hortense (Marianne Jean-Baptiste), a successful 27 yr. old optometrist, is burying her mom. In the very next scene, we are at a wedding; where we meet Maurice (Timothy Spall), a 38 yr. old photographer who is taking pictures of a jittery bride. These 2 people & these 2 events appear to have nothing to do with each other. However, they will eventually meet; for a very particular reason. And that pivotal meeting occurs during an explosive climax where emotions run high & everyone's secrets are exposed.
You see, Hortense was adopted as a baby. She's known this since she was a little girl, but it's not until both of her parents are dead that she has any interest to seek out her birth mother. As part of the tracing process, she is told by a social worker to hope for the best, but expect the worse. Whether she considers it better or worse, she finds out that her mother is white. Her name is Cynthia (Brenda Blethyn), a 42 yr. old neurotic woman (blabbering & bumbling along her lower-class life) living in a slovenly row house with her 21 yr. old street-sweeping daughter, Roxanne. She's an extremely lonely person and, the only person in her life who likes her is her brother, Maurice (Spall). Even his own wife dreads going to Cynthia's house for occasions.
'S&L' chronicles Hortense's search for her mom, her meeting Cynthia, & the development of their newfound bond. To Cynthia, Hortense offers the chance to have a daughter who actually loves her (Roxanne is a nightmare). To Hortense (who's depressed that the 2 parents she's ever known are now dead), Cynthia offers a chance to - not be a mom, per say - but another form of family; a 'mother' who leads a sad, sympathetic life. But it is a life that Hortense hopes will get better (for her) now that she's in it. Neither woman is unhappy about the other one's new presence in their life. But Cynthia, always troubled, always disappointed by the hand life's dealt to her, finds it difficult to shake the guilt of so many aspects of her dysfunctional life.
Mike Leigh has made quite the intricate & personal family drama, here. There's humor, wonderful poignancy, wit, but also some, pain, sadness, & biting melodrama; especially near the end. 'S&L' develops slowly; introducing us to each seemingly disconnected character, establishing time, place, situation, mood. And through meticulous details & revelatory dialogue, the film starts to take shape & deepen. If I have a complaint of the film, it's that the initial meeting, greeting, & story development (while important by the end), takes a while to engage. The film is long, & fully rewarding; but a bit of a chore to sit through early on.
The performances are all exceptional. Marianne Jean-Baptiste has an incredible scene with Blethyn as they sit in a restaurant that is one of the best acted performances I've seen all year. And Brenda Blethyn (all throughout the film) is ... there are almost no words. She is simply exceptional. What I can say about her is that you never, ever think you're watching a performance -- you just feel like you're watching Cynthia. Many times throughout the film, Mike Leigh uses lengthy, unedited shots where the focus of the camera is squarely on character's faces. This lets the depth of emotion really come to the forefront. The emotional impact that this film offers is amazing; and the main reason to experience it. 'S&L' is a deeply moving, well thought-out piece of cinema where the plot could happen to any one of us.
You see, Hortense was adopted as a baby. She's known this since she was a little girl, but it's not until both of her parents are dead that she has any interest to seek out her birth mother. As part of the tracing process, she is told by a social worker to hope for the best, but expect the worse. Whether she considers it better or worse, she finds out that her mother is white. Her name is Cynthia (Brenda Blethyn), a 42 yr. old neurotic woman (blabbering & bumbling along her lower-class life) living in a slovenly row house with her 21 yr. old street-sweeping daughter, Roxanne. She's an extremely lonely person and, the only person in her life who likes her is her brother, Maurice (Spall). Even his own wife dreads going to Cynthia's house for occasions.
'S&L' chronicles Hortense's search for her mom, her meeting Cynthia, & the development of their newfound bond. To Cynthia, Hortense offers the chance to have a daughter who actually loves her (Roxanne is a nightmare). To Hortense (who's depressed that the 2 parents she's ever known are now dead), Cynthia offers a chance to - not be a mom, per say - but another form of family; a 'mother' who leads a sad, sympathetic life. But it is a life that Hortense hopes will get better (for her) now that she's in it. Neither woman is unhappy about the other one's new presence in their life. But Cynthia, always troubled, always disappointed by the hand life's dealt to her, finds it difficult to shake the guilt of so many aspects of her dysfunctional life.
Mike Leigh has made quite the intricate & personal family drama, here. There's humor, wonderful poignancy, wit, but also some, pain, sadness, & biting melodrama; especially near the end. 'S&L' develops slowly; introducing us to each seemingly disconnected character, establishing time, place, situation, mood. And through meticulous details & revelatory dialogue, the film starts to take shape & deepen. If I have a complaint of the film, it's that the initial meeting, greeting, & story development (while important by the end), takes a while to engage. The film is long, & fully rewarding; but a bit of a chore to sit through early on.
The performances are all exceptional. Marianne Jean-Baptiste has an incredible scene with Blethyn as they sit in a restaurant that is one of the best acted performances I've seen all year. And Brenda Blethyn (all throughout the film) is ... there are almost no words. She is simply exceptional. What I can say about her is that you never, ever think you're watching a performance -- you just feel like you're watching Cynthia. Many times throughout the film, Mike Leigh uses lengthy, unedited shots where the focus of the camera is squarely on character's faces. This lets the depth of emotion really come to the forefront. The emotional impact that this film offers is amazing; and the main reason to experience it. 'S&L' is a deeply moving, well thought-out piece of cinema where the plot could happen to any one of us.