Synopsis: In post-World War II America, a woman, rebuilding her life in the suburbs with her husband, kidnaps her neighbor and seeks vengeance for the heinous war crimes she believes he committed against her.
Stars: Noomi Rapace, Joel Kinnaman, Chris Messina, Amy Seimetz, Jackson Dean Vincent, Madison Paige Jones, Jeff Pope, David Maldonado, Ed Amatrudo, Ritchie Montgomery
Director: Yuval Adler
Running Length: 97 minutes
TMMM Score: (5/10)
Review: In 1990, playwright Ariel Dorfman wrote a charged play titled Death and The Maiden which centered on a former political prisoner that has started a new life with her husband in a remote part of the world. Though it’s been years since her torture and rape at the hands of brutal guards, she remains haunted by her memories. When she believes she has run into one of her former captors by chance, she kidnaps him and enacts revenge…even though she isn’t totally sure he is the man who assaulted her those many years ago. The play was a hit in London and Broadway before being turned into a 1994 movie from Roman Polanski starring Sigourney Weaver.
I was reminded of Death and the Maiden often while watching the new drama The Secrets We Keep because it shares many plot points with Dorfman’s earlier work. Though it strays from the 1990 piece is several key areas, it almost feels like a slinky remake, albeit with less of a politicized edge than Dorfman implied and Polanski capitalized on. Director and co-screenwriter Yuval Adler and his screenwriter collaborator Ryan Covington actually wind up treading on a lot of familiar ground here, producing a film that has a meaningful message at its core but is hampered by a clumsy delivery system. Instead of truly delving into the dark areas it hints at, it opts to keep the night light on and avoid confronting anything seriously horrific.
Adler sets the film in 1959 anytown USA where housewife Maja (Noomi Rapace, Dead Man Down) lives with her doctor husband Lewis (Chris Messina, Live by Night) and son Patrick (Jackson Dean Vincent). Their idyllic, post WWII town is thriving with a local refinery in full bore and an influx of returning veterans expanding their families. The film has barely caught its breath when Maja hears a familiar whistle while lounging in the park with her son and follows the sound to a man that stirs a repressed memory. A Romanian, Maja’s family was slaughtered by the Nazis and she was raped, along with her sister, by a gang of soldiers before escaping…the survivors guilt she harbors has been crippling and it all returns with that one whistle.
Convinced she has found one of the men that committed that heinous crime against her, she quickly puts together a plan to kidnap him and force him into confessing. Turns out, Maja is quite resourceful and nabbing the unsuspecting man (Joel Kinnaman, RoboCop) and getting him set-up in her basement isn’t all that difficult…but getting him to admit who he is will be. With Lewis involved and her desperation to get the truth becoming more important than ever, Maja will resort to anything to uncover the truth. Yet the question lingers, has Maja accused the wrong man? Hints at psychiatric trauma and recent therapeutic sessions suggest there’s maybe a reason to doubt her recall of the events or call into question her judgement where her family is concerned.
Though the film is filled with numerous moments of supposed tension hinging on the discovery of a man trapped in the basement of this otherwise picturesque couple, I was surprised at how little energy the movie spends to create any kind of spark in anyone or anything. There’s this general somber tone throughout and a drained-out color scheme that makes everything feel it’s either just coming back to life or about to take its last breath. Rapace in particular looks so suspicious, you’d think she was hiding an entire football team and their grandmothers in her basement…she always looks rattled. When she befriends the wife of the man (played by She Dies Tomorrow director Amy Seimetz with the kind of interesting mystery the entire film needed more of) I kept waiting for the wife to ask her to blink twice if she needed help at home.
While the production design is solid and the costumes are more than just your usual pencil skits and trousers look, everything else just seems to tow the line…and that’s too bad because there’s an important story here waiting to be told. Messina seems to be the one that’s hopped on the right train and knows where he’s headed and Kinnaman does too, for a bit, until the character has a shift that doesn’t get to be explored fully. I always want to like Rapace more in films but possibly with the exception of 2012’s Prometheus she’s just never been as good or well represented as she was in the original The Girl with the Dragon Tattoo films in Sweden that made her famous. While she’s well suited for the role, it ultimately proves to be another wrong fit for the actress.
The atrocious crimes committed by German Nazis against Jews and other marginalized Europeans during WWII have been explored and exploited by the entertainment industry for years by now. It’s gotten to the point that the horrific rapes and murders depicted in the flashbacks seen in The Secrets We Keep are easy to chalk up alongside everyday crimes we’ve been desensitized to by the television and movies we watch. I say that not to condemn the filmmakers of this film or any other with similar themes but to put into perspective how commonplace the acts portrayed within seem to have become…and make sure we never truly forget the real lives that were affected. That’s one key area where the film succeeds, in detailing how this trauma can infest your entire life and the lives of others if not dealt with.
[…] amazement, she “shares” the role with Alice Englert (Beautiful Creatures), Noomi Rapace (The Secrets We Keep), and Carloto Cotta (Frankie), each is striking a somber balance in their cycles with the […]