Though it’s more than likely people will be queuing around the block this weekend to see Elizabeth Olsen star in Gareth Edwards’ Godzilla – the talented young actress can also be seen in Charlie Stratton’s period drama In Secret, where she is given even more of a platform to show off her acting credentials, in a brooding, cinematic reimagining of Émile Zola’s classic novel Thérèse Raquin.
Olsen plays the eponymous lead, who becomes disillusioned when married off by her troubled aunt Madame Raquin (Jessica Lange), to her sickly cousin Camille (Tom Felton), against her will. Though the pair share something of an amicable relationship, the lack of physical attraction breeds a sexual desire within the young girl, and one that is ignited when she first lays eyes on the charming Laurent (Oscar Isaac). Though somewhat afraid, intrigued and almost intimidated by sex – the pair soon enter into a salacious, illicit affair. However such passion and enthralment is unlikely to last forever, and eventually they find themselves venturing into dark and disturbed territory.
In spite of the 1860s, Parisian setting – one which naturally holds much cinematic promise, regrettably Stratton struggles to truly offer a flavour for the setting, detracting from one of the great perks of the period drama. This could be set in Surrey if it wasn’t for the character’s names. Nonetheless, the narrative itself makes up for such a misgiving, as the filmmaker intelligently finds an intimate strand that the audience can relate to, amidst the historical, foreign setting, with a perennial love story that appears almost eternal. Whether it’s the latter end of the 19th century or the beginning of the 21st, that exhilaration and delirium that comes with new love will forever exist, and regrettably, as will the danger of that very spark going out – and it’s a notion our filmmaker abides by.
Olsen’s performance ensures that this film doesn’t fall completely flat, even if her dodgy British accent is somewhat distracting. It’s a shame there’s no room for actors to merely speak in their own accent, as Wes Anderson proved in The Grand Budapest Hotel – it can work. We’re suspending our disbelief as it is given they’re all French characters speaking in English, what harm is it to push that surrealism a little further? In the meantime, Isaac impresses as Laurent, coming in to his element as the darker side to the film takes precedence, as he finds a strong balance between being charming and sinister – similarly to how Leonardo DiCaprio managed in The Wolf of Wall Street. Felton ensures we have a full house of strong performances too, and while overacting somewhat, it suits the nature of this melodramatic production – and in fact, a more subtle performance may seem a little out of place. Camille is a layered character too, with an obsession of bears in the zoo somewhat metaphorical for a young man who is also trapped in life, with his controlling mother like the zookeeper, holding the key.
There’s a warm, comedic tone to this picture too, and though it serves the film well in parts, bringing something of a frivolous approach to an otherwise solemn tale, it can work the other way and almost devalue the impact of the narrative. The occasional joke is fine, but there are scenes featuring the hilarious Matt Lucas which delve into farcical territory, feeling almost like a parody at times. While undoubtedly good fun and having a director who is evidently playing up to such a notion purposefully, it just prevents the viewer becoming truly invested in the darker side to this tale, which can prove to be detrimental when approaching the latter stages of the film.
[Rating:2/5]
