Secret People (1952)

Good , But It Is Overrated By Some

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

One of the most extraordinary films you will see this year. Take that as you want.

To answer an earlier user comment, the reason Audrey Hepburn did not continue with classical ballet was because of a serious injury to one of her ankles - always a risk for dancers.Nevertheless Audrey dancing in her tutu was a highlight of this 1952 Ealing film."London Live" commercial channel in the UK have just begun showing a season of classic Ealing films, so you could see Ealing did not just produce film comedies.I am grateful to my wife for pointing me in the right direction so I could see this film, which is not advertised for sale on rare DVD movie sites to my knowledge.The cognoscenti of classic British films from this era will also spot Megs Jenkins, Sam Kydd and Sidney Tafler in other small parts.The above user comments sufficiently describe the plot so I will not dwell further on it.Suffice it to say the theme of terrorism is still very much relevant today with 7/7/2005 much remembered in the UK.My wife and I enjoyed it to the end and I awarded it 7/10.A good evening's viewing with the "Poldark" remake on BBC to follow!

Another Ealing Studios/Rank production from 1952... opens with a title card describing an "inner person" within each of us...foreshadowing of some sort. We are told that it takes place in 1930 London, just prior to England and WW II. A man reads a letter from an old friend, warning of troubles to come, and asking him to look after his children... Really, the only big name (that I recognize) is Audrey Hepburn, as "Nora", one of the daughters. The next two films she would make were Roman Holiday and Sabrina, and her voice sounds more like a little girl in this one, as she was still only about 21. Co-star Serge Reggiani, who apparently was a famous artist, singer, actor, poet, even boxer in Europe, plays "Louis". We follow along as Nora and her sister "Maria" (Valentina Cortese) make good and bad decisions. Lots of underground war-time spying and espionage.... the photography and sound are quite good for the 1950s. The film has a good script, but lacks a spark and some big names. A good entertaining film, if no real "electricity. Written and directed by Thorold Dickinson, this would be one of the last films he made. This film is not at all connected to the "Secret People" documentary made in 1998.

The Secret People is worth seeing as much for what it did not accomplish as for what it did. It seems to me that only Hitchcock's Sabotage deals with the same sort of moral dilemmas that this film attempts to portray. Both Sabotage and Secret People were filmed in dark London streets and ominous back streets. In fact, the cinematography is literally so dark that it is often difficult to make out the action. In both films, an atmosphere of dread and secrecy hangs over the characters. However, despite the strong bond between the sisters, you never feel the same anguish shown in Sabotage by the wife of the saboteur. The film could have been a lot more forceful in setting up its moral conflicts. Of course, it is worth while just to see the young Audrey Hepburn dance classical ballet, something we were never to see again on film. And to see her before she became a major star. No Givenchy fashions in this one!

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.