In the broad strokes of the story there's much about 'Something to hide' that's rather familiar. Nosy and gossiping locals, an office worker facing professional difficulties, a marriage in tatters - and a pretty girl that enters the picture in the midst of it all. Even with these common elements as roots, however, filmmaker Alastair Reid demonstrates fine skills as both writer and director that makes the movie roundly engaging. In adapting Nicholas Monsarrat's novel, characters are as complex and troubled as the dialogue is biting. The scene writing is quietly charged and electrifying to an extent I didn't quite expect as the plot unfolds - and for all that, the narrative is gratifyingly absorbing, especially as it somewhat takes on the air of a psychological drama in focusing on increasingly desperate Harry. Even with a solid cast on hand I had mixed expectations, so I'm very pleased to reflect that this is wonderfully vivid low-key thriller well worth checking out.
With the somber chords of Buddy Greco's "How can we run away" opening the film and defining much of Roy Budd's score, the opening scene serves up a vibrant, jolting image of marital discord. Thusly is the tone set for the equally impactful if less immediately invigorating mess that follows as well-meaning Harry Field tumbles down a rabbit hole of escalating problems. Every small turn in the saga delivers a new little punch owing to sharp writing that keeps the tension boiling - and not least of all thanks to outstanding performances. Well and truly, everyone in the cast is swell, down to the small supporting parts ably filled with fine range, nuance, and poise by the likes of Harold Goldblatt, Rosemarie Dunham, Jack Shepherd. Naturally, however, a few key performances stand out - including Shelley Winters, who steals the spotlight even in her limited time on-screen with a riveting display of aggravation. Linda Hayden, only 19 years old in 1972, carries a spark of dangerous energy in portraying conniving young Lorelei. Above all, Peter Finch is marvelous in the starring role of Harry, perfectly expressing the man's crumbling mentality as unfavorable circumstances mount around him. As much as everyone else involved contributes to the film's success, if I had to name only one highlight of 'Something to hide' then Finch's turn as Mr. Field would unmistakably be it.
As much as I would love to verbosely sing the praises of the feature, I'm not sure how much longer I could go on without betraying plot points. I can say to a certainty, though, that the title makes a couple moves I wasn't anticipating, and I'm delighted at the stylistic flavor given to the narrative. It's not the most original or essential film one could watch, and rich as the last several minutes are as a viewing experience, there's also an argument to be made that they are perhaps a bit overdone, and gauche. Yet much more so than not I think this is a fantastic, hushed drama - punctuated with distinctly grabbing moments - that's anchored with strong writing and acting. 'Something to hide' is a softly entrancing picture that digs in its claws to keep our attention, and very entertaining - and it gets my hearty recommendation.
With the somber chords of Buddy Greco's "How can we run away" opening the film and defining much of Roy Budd's score, the opening scene serves up a vibrant, jolting image of marital discord. Thusly is the tone set for the equally impactful if less immediately invigorating mess that follows as well-meaning Harry Field tumbles down a rabbit hole of escalating problems. Every small turn in the saga delivers a new little punch owing to sharp writing that keeps the tension boiling - and not least of all thanks to outstanding performances. Well and truly, everyone in the cast is swell, down to the small supporting parts ably filled with fine range, nuance, and poise by the likes of Harold Goldblatt, Rosemarie Dunham, Jack Shepherd. Naturally, however, a few key performances stand out - including Shelley Winters, who steals the spotlight even in her limited time on-screen with a riveting display of aggravation. Linda Hayden, only 19 years old in 1972, carries a spark of dangerous energy in portraying conniving young Lorelei. Above all, Peter Finch is marvelous in the starring role of Harry, perfectly expressing the man's crumbling mentality as unfavorable circumstances mount around him. As much as everyone else involved contributes to the film's success, if I had to name only one highlight of 'Something to hide' then Finch's turn as Mr. Field would unmistakably be it.
As much as I would love to verbosely sing the praises of the feature, I'm not sure how much longer I could go on without betraying plot points. I can say to a certainty, though, that the title makes a couple moves I wasn't anticipating, and I'm delighted at the stylistic flavor given to the narrative. It's not the most original or essential film one could watch, and rich as the last several minutes are as a viewing experience, there's also an argument to be made that they are perhaps a bit overdone, and gauche. Yet much more so than not I think this is a fantastic, hushed drama - punctuated with distinctly grabbing moments - that's anchored with strong writing and acting. 'Something to hide' is a softly entrancing picture that digs in its claws to keep our attention, and very entertaining - and it gets my hearty recommendation.