Secrets and Lies
The film’s drama depends on two narrative strands that eventually converge. In the first strand, Hortense (Marianne Jean-Baptiste), a young, black optometrist, decides after the death of her adoptive mother to track down her birth mother, who gave her up in infancy, and is astonished to discover that she’s white. The second strand concerns her mother, a middle-aged factory worker named Cynthia (Brenda Blethyn) who lives in London with another illegitimate daughter, Roxanne (Claire Rushbrook), a street sweeper who despises her mother and won’t even introduce her to her.
This is a film that effectively illustrates the rituals and defense mechanisms that are used to hide the unpleasantness of life and make dysfunctional relationships tolerable, thereby maintaining the facade of happiness.
Secrets and Lies
Directed and written by Mike Leigh
With Brenda Blethyn, Timothy Spall, Marianne Jean-Baptiste, Phyllis Logan, Elisabeth Berrington, Lee Ross, Claire Rushbrook, Ron Cook, Michele Austin, and Lesley Manville.
Though it begins slowly at first, as the disparate plot threads come crashing together in the last act, one cannot help but become emotionally involved with the characters on the screen.
What do you learn from this movie:
Best to tell the truth. That way nobody gets hurt.
Watch it! Great movie!
Secrets and Lies
The film’s drama depends on two narrative strands that eventually converge. In the first strand, Hortense (Marianne Jean-Baptiste), a young, black optometrist, decides after the death of her adoptive mother to track down her birth mother, who gave her up in infancy, and is astonished to discover that she’s white. The second strand concerns her mother, a middle-aged factory worker named Cynthia (Brenda Blethyn) who lives in London with another illegitimate daughter, Roxanne (Claire Rushbrook), a street sweeper who despises her mother and won’t even introduce her to her.
This is a film that effectively illustrates the rituals and defense mechanisms that are used to hide the unpleasantness of life and make dysfunctional relationships tolerable, thereby maintaining the facade of happiness.
Secrets and Lies
Directed and written by Mike Leigh
With Brenda Blethyn, Timothy Spall, Marianne Jean-Baptiste, Phyllis Logan, Elisabeth Berrington, Lee Ross, Claire Rushbrook, Ron Cook, Michele Austin, and Lesley Manville.
Though it begins slowly at first, as the disparate plot threads come crashing together in the last act, one cannot help but become emotionally involved with the characters on the screen.
What do you learn from this movie:
Best to tell the truth. That way nobody gets hurt.
Watch it! Great movie!
Secrets and Lies
The film’s drama depends on two narrative strands that eventually converge. In the first strand, Hortense (Marianne Jean-Baptiste), a young, black optometrist, decides after the death of her adoptive mother to track down her birth mother, who gave her up in infancy, and is astonished to discover that she’s white. The second strand concerns her mother, a middle-aged factory worker named Cynthia (Brenda Blethyn) who lives in London with another illegitimate daughter, Roxanne (Claire Rushbrook), a street sweeper who despises her mother and won’t even introduce her to her.
This is a film that effectively illustrates the rituals and defense mechanisms that are used to hide the unpleasantness of life and make dysfunctional relationships tolerable, thereby maintaining the facade of happiness.
Secrets and Lies
Directed and written by Mike Leigh
With Brenda Blethyn, Timothy Spall, Marianne Jean-Baptiste, Phyllis Logan, Elisabeth Berrington, Lee Ross, Claire Rushbrook, Ron Cook, Michele Austin, and Lesley Manville.
Though it begins slowly at first, as the disparate plot threads come crashing together in the last act, one cannot help but become emotionally involved with the characters on the screen.
What do you learn from this movie:
Best to tell the truth. That way nobody gets hurt.
Watch it! Great movie!
Secrets and Lies
The film’s drama depends on two narrative strands that eventually converge. In the first strand, Hortense (Marianne Jean-Baptiste), a young, black optometrist, decides after the death of her adoptive mother to track down her birth mother, who gave her up in infancy, and is astonished to discover that she’s white. The second strand concerns her mother, a middle-aged factory worker named Cynthia (Brenda Blethyn) who lives in London with another illegitimate daughter, Roxanne (Claire Rushbrook), a street sweeper who despises her mother and won’t even introduce her to her.
This is a film that effectively illustrates the rituals and defense mechanisms that are used to hide the unpleasantness of life and make dysfunctional relationships tolerable, thereby maintaining the facade of happiness.
Hortense Cumberbatch (Marianne Jean-Baptiste)
Cynthia (Brenda Blethyn)
Roxanne (Claire Rushbrook)
Maurice (Timothy Spall)
Monica (Phyllis Logan)
Though it begins slowly at first, as the disparate plot threads come crashing together in the last act, one cannot help but become emotionally involved with the characters on the screen.
What do you learn from this movie:
Best to tell the truth. That way nobody gets hurt.
Watch it!
I wouldn’t know him if he stood up in me soup
Now i don’t mean nouffin by it darlin, no disrepect or nuffin, but i aint never been with a black man in me life?
yeah, I’ll eat anything me. Chinese kebabs the lot
You alright sweetheart?
You slag you fuckin’ slag! Aint enough you had one bastard you had to have two n’all!
Page Topic: Movie Quotes from ‘Secrets and Lies’: Quotes from the movie ‘Secrets and Lies’
