IN SECRET – The Review

IN SECRET is an old-fashioned bodice-ripper – a period potboiler about adulterous lust, premeditated murder, and poetic justice. Though told in broad, Harlequin-novel strokes, it is well done with fine direction and exceptional performances. Set in 1860’s Paris, IN SECRET tells the tale of young Thérèse (Elizabeth Olsen), who has been brought up by her aunt, Madame Raquin (Jessica Lange) and more or less forced to marry her pasty wimp cousin Camille (Tom Felton). She has resigned herself to a dull gray loveless life working in a small fabric shop owned by her aunt/mother-in-law in a grimy section of Paris while her husband toils away as an accountant. Thérèse is ready to satisfy the sexual desires bottled in her, but the whiny Camille would rather go to the zoo and be babied by his mama. When he brings his wife flowers, he warns “Don’t tell mother. She’ll be jealous“. The marriage is clearly a ponderous existence for poor Thérèse and it’s obvious any sane wife would soon get sick of this sort of nothing life. Things change when Camille brings home Laurent (Oscar Isaac), a swarthy, virile co-worker with a mean set of muttonchops. Thérèse is initially repelled by this vulgar womanizer whose hobby is painting women in the nude, but soon their smoldering gazes turn into lusty kisses, then sweaty (clothed) sex, which is much hotter than the nooky she’s getting from Camille which consists of a few passionless thrusts and a lot of coughing. The love affair intensifies and when Camille informs Thérèse they’re leaving Paris, the lovers become desperate and decide to do away with the emasculated husband. The pair wait for things to cool down after Camille’s death (they drown him) and eventually marry but their secret makes them grow to distrust and hate each other while the twisted psychological drama between them and the mother-in-law heats up.

While it doesn’t break any new ground, IN SECRET is a triumph of pacing, acting, and atmosphere. Director Charlie Stratton gets a bit carried away with the darkness (even the outdoor scenes are suffocating), but he lets in the filth and the squalor of 1860’s Paris effectively and his classical take on the material is refreshing in its desire to not be dolled up and given a hip makeover. Stratton keeps the story zipping along at a tight 109 minutes and  it’s nice to see a film dealing with common working class people caught up in the turmoil of love and everyday life. Not every plot twist is convincing, especially Madame Raquin conveniently having a totally paralyzing stroke at just the right moment. I guess one can blame 19^th century writer Emile Zola, upon whose novel Thérèse Raquin, the film is based for some of this, but this version (the book has been filmed before and was a stage play) is still engrossing. Where the film undoubtedly succeeds is in the acting. Olsen, Isaac, Felton, and especially Lange are all superb as four characters whose fates are tragically sealed together. A rising contemporary star like Elizabeth Olsen seems an unexpected choice as Thérèse, but Olsen’s talent has many notes, and I liked the womanly, big-eyed presence she brought to this character. Oscar Isaac looks great and simmers, which is good enough in an undemanding role and Felton manages to bring a lot of innocence to his part. But they’re all low-key next to Jessica Lange as the needy matriarch. The discovery of Thérèse and Laurent’s hand in her son’s death gives the actress an excuse to howl and moan and chew the scenery. It’s overwrought to be sure, but in a good way and is the type of cracked perf that might generate Oscar buzz if it were later in the year. The ending is a bit pat, but for ripe period melodrama you could do a lot worse than IN SECRET.

4 of 5 Stars

IN SECRET opens in St. Louis Friday February 22nd at Landmark’s Plaza Frontenac Theater