Unlimitedia Sick Product of a Sick System

ReaderKenka Let's be realistic.

Mjeteconer Just perfect...

Cheryl A clunky actioner with a handful of cool moments.

tieman64 Written and directed by Thorold Dickinson, "Secret People" (1952) finds Maria Brenatano (Valentina Cortese) and her younger sister (Audrey Hepburn) escaping a fascist dictatorship and fleeing to 1930s London. Once in London, the duo live with friends and attempt to adjust to local customs.Early in "Secret People", Maria meets Louis (Serge Reggiani), a childhood sweetheart who works for a radical group intent on assassinating the unnamed dictator Maria's family has fled. This dictator is visiting British dignitaries, and so Louis requires Maria's assistance to smuggle a bomb into his presence. Maria thus finds herself torn between loyalty to her adopted homeland and loyalty to Louis' terrorist group. The film ends with Maria betraying Louis and admonishing those who would bring violence to the shores of a kindly, all inclusive, democratic nation like Great Britain. As Britain's long had ties to fascist regimes, as it has long operated fascist groups as the strong-arm of its ruling class, and as it specialises in backing terrorists, dictatorships, theocracies and far-right groups (everything from Mussolini to Charles Maxwell Knight, a proud fascist and wartime head of MI5), the film's creepy message reeks of hypocrisy.If "Secret People" has a bright spot, it's young Audrey Hepburn who twirls her way through Dickson's film like a ray of sunshine. Svelte and chirpy, Hepburn's role here would get her noticed by director William Wyler, who'd cast her in "Roman Holiday". The rest's history.6/10 – See "The Spy Who Came In From The Cold".

blanche-2 Simply put "Secret People" is about terrorism.Maria Brentano (Valentina Cortese) and her younger sister Nora (Angela Fouldes/Audrey Hepburn) are sent to live in London with a friend of their father's; he is ultimately killed by a European dictator, Galbern. Maria becomes a citizen and changes her name to Brent and works in her guardian's restaurant, while Nora pursues a career as a dancer. Seven years pass, and their guardian takes them for a weekend in Paris. There, Maria sees her boyfriend Louis (Serge Reggiani), from whom she has been separated for seven years.Serge and his group are now plotting the assassination of Galbern, who is visiting London. He arranges for Nora to be hired for a private party which will be attended by Galbern, and Maria will be a guest. He pressures her at the last minute to carry a bomb and pass it to someone who will be at the party. The plan goes awry and a waitress is killed. Horrified, Maria goes into a sort of witness protection and is sent back to help capture Louis and his group.Terrorism coming into and hurting ordinary people, fanatics who believe in their cause -- it resonates today. The acting is very good. Valentina Cortese is excellent as a loving and protective woman drawn into something by the man she loves. Audrey Hepburn is sweet and very girlish as Nora, and Serge Reggiani as the smooth Louis does a great job. This role must have hit close to home for Reggiani; his father was a prominent anti-fascist and fled Mussolini in order to protect his family. Everyone in the film is good.Valentina Cortese was interviewed for the Audrey Hepburn biography on which I worked. She adored Hepburn, and the two of them used to go to nightclubs together and even at one point tried smoking cigars. So it was especially interesting for me to see this film. Despite some negative reviews here, I found this a worthwhile film.

boudica10 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!

shbruce 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.