Showing posts with label Peter Sallis. Show all posts
Showing posts with label Peter Sallis. Show all posts

Sunday, 18 August 2019

Mind craft… The Third Secret (1964)




Let’s get this out the way from the start: the First Secret you keep from others, the Second Secret you keep from yourself, and the Third Secret is the truth. This applies to the everyday as much as the narrative in this smart psychodrama directed by the venerable Charles Crichton and starring Hollywood’s favourite Ulsterman, Stephen Boyd and the precocious Pamela Franklin – just 14 at the time of filming but carrying so much old emotion; a remarkable performance.

The film has elevated production values, with some glorious shots of the Thames side near Kew at Strand-on-the-Green where a lot of the action happens although when I say “action” I mean deep pondering set against the wide-grey waters and a poignant monochrome sky… Boyd is adept a brooding and carries an energy that suggests he is not only capable of dynamic action but also destruction and this much we see in one sequence where he trashes an apartment, accidentally making a small cut on the face of his young friend, Catherine.

Pamela Franklin and Stephen Boyd
The girl herself is fascinating as an actress and a character; not many teenagers could pull of the emotional conflictions she does and create the impression of violent damage as well as something deeply hidden… the “third secret” is one you can hold from yourself.

Catherine’s father, prominent London psychoanalyst Dr. Leo Whitset, is discovered fatally injured from a gunshot wound and as he dies, he whispers, "Blame no one but me." It looks like suicide and the coroner agrees but his closest patients tend to disagree. Boyd plays Alex Stedman, an investigative TV reporter haunted by demons and drink but still driven by a need to seek the truth. Catherine and he share a bond and she turns up at the studios to plead for his help in investigating what she is convinced is murder.

Stephen Boyd and Nigel Davenport
For a dynamic reporter, Alex certainly has a lot of self-doubt but I guess that’s why he was seeing Dr Whitset, but his need to restore his friend’s reputation is almost as important as the need to find his killer. Chief suspects look to be anyone of the Professors’ regular customers which just so happen to include Alex…

Aside from the angry, unpredictable journalist, there’s Alfred Price-Gorham (Richard Attenborough) who runs an elite art gallery, Sir Frederick Belline (the great Jack Hawkins) a high-level judge and Anne Tanner (Diane Cilento) a nervous secretary completely lacking in self confidence or resilience…The suspects are all impressive enough and what’s interesting is Alex flawed approach in investigating them. He’s no Sherlock Holmes even though he’s smart, solving the riddles that Catherine keeps on chalking on the walls of bankside near her home.

Richard Attenborough
At Price-Gorham’s gallery, Alex strikes up an encouraging conversation with his PA, Miss Humphries (Judi Dench in her first big screen role, before co-starring in the following year’s Four in the Morning). Her boss is a frustrated artist and trying to sneak his own work amongst the more established artists on show. Alex decides he’s an unlikely suspect based on his fear of elderly and opinionated customers… but you never know, he was working on a portrait of the professor.

Next Alex takes his “professional” interest in the case far too far in a one-night stand with the very vulnerable Anne Tanner (Diane Cilento) … it doesn’t end well and, as with his first interview leads us no closer to the chief suspect. It serves to show how “vulnerable” Alex is and how, if anything, he’s just another one of the four main characters who has lost their therapist.

Diane Cilento and Mr Boyd
The same is true of his eventual meeting with Sir Frederick who, whilst he undoubtedly has many things to hide, is not about to break down and deliver.

All of which leads us back to the Thames and the word games and pensive silences between Alex and Catherine… she in search of a father figure and he, possibly even unsure whether he’s a suspect. It’s a film that undermines the traditional string male lead and, whilst it meanders, leads us all down a false trail on purpose.


Dusty verdict: The Third Secret is well directed by Charles Crichton with some subtly stunning cinematography from Douglas Slocombe; if it feels less than the sum of its parts that’s possibly because there’s not enough meat in the character’s motivations outside of their internal crises. It’s perhaps too introverted for its own good.

The denouement is dramatic and might catch the unwary… it leaves a feeling of unease, something that could have been more prevalent earlier for despite itself, the film doesn’t have enough suspense or action.

Young Judi
That said, the acting is superb and none more so than from Pamela Franklin. There’s also a good supporting cast including Rachel Kempson, Peter Sallis and the ever-superb Nigel Davenport as Alex’s boss! Well worth seeking out now that it’s on Blu-ray.



Saturday, 30 December 2017

Old new labour… No Love for Johnnie (1961)


The more things change the more politics stays (roughly) the same. This examination of the politics of ambition versus conviction, still strikes many a chord today after the fall of the centrist Labour movement and its still surprising replacement by the more overtly left-wing leadership of Jeremy Corbyn and the Momentum movement. Who knows where this will lead us but there are still plenty of men like Peter Finch’s MP Johnnie Byrne in all parties.

No Love for Johnnie was based on a novel by Wilfred Fienburgh who was not only a Labour MP from 1951 until his death in 1958 but was also described as “rather louche” by Anthony Howard and, according to Denis Healey, a man whose “good looks and big brown eyes often led him astray…” It’s hard not to conclude that his books contained at least some autobiographical references.

Johnnie Byrne is a charismatic MP on the rise… a new breed of politician who gives good copy and seems to represent the future of a party that could sense election victory as the Tories ran out of ground. Johnnie is a man who places his own interests ahead of his constituents, party and even friends and lovers. Johnnie is left of centre and is married to Alice (Rosalie Crutchley) a former member of the Communist Party, a situation that has held back his rise in the party.

Rosalie Crutchley
After a Labour victory, Johnnie must face the disappointment of being overlooked for a cabinet post and then coming home to find Alice has had enough and wants to leave him. The film is balanced between his desire to be loved by the party and its electorate as well as his need to replace Alice’s loving stability. Johnnie needs to decide what he wants the most and stumbles about for much of the film.

A young neighbour, Mary (Billie Whitelaw), who has obviously held a candle steps in to help and soon she is comforting Johnnie as he drowns his sorrows. The phone rings and Johnnie choses to answer it rather than focus on the girl in hand, gifting Mary the realisation that this guy will always jump at the political chance.

Billie Whitelaw
Despite this, Mary invites Johnnie along to a party hosted by the immaculate Sheila (the brilliant Fenella Fielding – still wowing us in her 90s!) where he meets an attractive young model, Pauline (played by the delicious Mary Peach). The following day he tracks Pauline to a photographer’s studio run by a chap named Flagg (the singular Dennis Price – what a cast this film has!) and pretends he has bumped into her by accident…

Meanwhile, Johnnie is being lined up as a stalking horse by a group of left-leaning MPs concerned at their new PM’s direction. These include Donald Pleasence as Roger Renfrew, Peter Sallis and Mervyn Johns as Charlie Young with the Prime Minister being played by Geoffrey Keen. They arrange for Johnnie to raise an awkward question about overseas aid at Question Time and as the in-fighting progresses, wise old-head Fred Andrews (Stanley Holloway on fine form; what a range he had), reminds Johnnie of his parents’ principles and their role in keeping the party together.

Mary Peach
The day arrives, and Johnnie is nowhere to be found… as the House of Commons prepares itself for the showdown he is in bed with Pauline finally consummating their relationship at precisely the time when he should have been standing up for his party’s values. But even as he seduces Pauline he begins the process of losing her as he overburdens the 20-year old with his 42-year old desire to settle down.

Back in Parliament he’s spurned by his co-conspirators and Renfrew exacts revenge by fixing for his constituency party to call him up north for a vote of no confidence. For the first time we see him squirm and lose confidence as the real passion of his comrades reveals his smooth talk as hollow and he just about survives the vote.


Meanwhile Pauline has gone missing and there are pitiful scenes with Mary who refuses to be his fall-back… he’s nothing without a woman it seems.

Spoilers: But, if a week is a long time in politics, these few days offer Johnnie a way back as a now grateful PM offers him a chance of promotion after the tragic resignation of a junior minister. Free of his wife with her troublesome past he’s now a player with a future, only Alice returns and he’s going to have to choose…


Dusty verdict: No Love for Johnnie may have its period charms but it’s a timeless play on politics, power and passion. Ralph Thomas directs a wordy script well and uses a quite splendid cast well.

Johnnie’s women are superb, especially Billie Whitelaw who can match Finch’s intensity. Mary Peach is well cast as Johnnie’s beautiful but unsuitable young love and against Finch’s worldly-wise and conflicted character she appears every inch the unformed girl who could not possibly commit to loving such a shadowed soul.

Finch won a BAFTA for the role and its easy to see why. He’s on screen for virtually the whole film and manages to make you care for this ultimately feckless chancer: he truly is Johnnie.

It’s now available on DVD from those Amazon people and makes for gripping viewing in these strange times…


Oliver Reed pops up at the party as Fenella and Peter negotiate