The Third Secret


1h 43m 1964

Brief Synopsis

A prominent London Psychologist seems to have taken his own life, causing stunned disbelief amongst his colleagues and patients. His teenage daughter refuses to believe it was suicide as this would go against all of the principles her father stood for, therefore she is convinced it was murder. She enlists the help of a former patient to try to get to the truth. The truth, however, turns out to be both surprising and disturbing.

Film Details

Genre
Drama
Release Date
Jan 1964
Premiere Information
New York opening: 28 Apr 1964
Production Company
Hubris Productions
Distribution Company
Twentieth Century--Fox Film Corp.
Country
United Kingdom

Technical Specs

Duration
1h 43m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Synopsis

Dr. Leo Whitset, an eminent London psychoanalyst, is found dying from a gunshot wound in the consulting room of his home. He is discovered by his housekeeper, and a few words whispered to her before his death leads the coroner to pronounce a verdict of suicide. Dr. Whitset had restricted his private practice to a select group of patients and devoted most of his time to teaching and research. Alex Stedman, an American TV news commentator who had been one of Dr. Whitset's patients, believes that the death was not a suicide. Catherine Whitset, the 14-year-old daughter of the dead man, visits Stedman and pleads with him to find the person responsible for her father's death. From memory, she supplies Alex with the names of the doctor's three other patients: Sir Frederick Belline, a judge; Alfred Price-Gorham, owner of a London art gallery; and Anne Tanner, a London secretary. Alex visits each of the patients in his search for the murderer and realizes that he, like the other patients, has a secret self known only to the murdered man. He accidentally learns from Catherine that there was a fifth patient, and he goes to the doctor's country home where the dead man kept his files. He learns that Catherine was the fifth patient, and she confesses that she killed her father to prevent him from sending her to an institution to be treated for schizophrenia. During a reenactment of the crime, Catherine stabs Alex. After he recovers from his wound, he visits her at the institution and promises to remain her friend.

Film Details

Genre
Drama
Release Date
Jan 1964
Premiere Information
New York opening: 28 Apr 1964
Production Company
Hubris Productions
Distribution Company
Twentieth Century--Fox Film Corp.
Country
United Kingdom

Technical Specs

Duration
1h 43m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Articles

British mystery-drama The Third Secret on DVD


The Third Secret (1964) is one of those deadly earnest, intellectually intriguing, British, black-and-white widescreen mystery dramas of the 1960s. It has something of the quiet, somber tone of movies like The Innocents (1961), Bunny Lake is Missing (1965) and The Haunting (1963) - with a tiny bit of Psycho (1960) thrown in to boot.

As the story opens, a psychiatrist is found dead in his London home. Presumably it's suicide, but his 14-year-old daughter (Pamela Franklin) is convinced that it was murder - by one of his four current patients, all of whom suffer from severe neuroses. No one will listen seriously to Franklin except for Stephen Boyd, whom she convinces to look into the matter. Boyd plays a nationally-known American news commentator living and working in London, a convenient fact for it allows him to easily make contact with all the patients/suspects; since they recognize him, they are willing to meet and talk. And as he visits them, their personal stories play out as mini-movies of their own. There's Richard Attenborough as an art gallery owner with a mighty suspicious painting that he himself created; Jack Hawkins as a judge with some terrible secret in his past; and Diane Cilento as an unstable secretary. The fourth patient is Boyd himself, meaning he has his own private turmoil and is himself a suspect. (Originally there was a fifth patient, played by Patricia Neal; her role was filmed but ultimately deleted.)

Boyd's character takes on a role of amateur detective, but he ends up as a de facto shrink, able to pull out the other characters' inner demons. The film in this way equates detective with psychiatrist, not necessarily an unfounded notion but representative of the movie's simplistic and outdated approach to mental illness. That can be forgiven in a movie which is really a mystery after all, and not a treatise on psychiatry, but the episodic style of the film doesn't help matters. The theatrical dialogue and overall approach tend toward the pretentious, especially in the depiction of Boyd and Franklin's strangely developing friendship.

What The Third Secret does have going for it is a mystery that is nonetheless intriguing enough, as well as interesting, offbeat locations - notably the Thames riverbank scenes - and beautifully composed black-and-white CinemaScope photography, courtesy of director Charles Crichton and master cinematographer Douglas Slocombe. This is simply a beautiful movie to look at. Richard Arnell's score is also suitably creepy yet pretty, reflecting the fact that the picture tries not for cheap thrills but for steady ominousness.

Young Pamela Franklin, who debuted in The Innocents three years earlier, is asked to carry a great deal of The Third Secret, and while she has been praised for her work here, this reviewer found her a bit overwrought. Stephen Boyd, who had done Ben-Hur (1959) five years earlier and was about to do another huge epic, The Fall of the Roman Empire (1964), has his moments here but is also too over-the-top, often going from a whisper to a shout and back again in the same speech. Perhaps some better overall modulation by director Crichton would have helped.

The three "guest stars," as they are billed, fare better. Hawkins' gravelly presence injects welcome energy, and his scene with Boyd in his judge's chambers is truly excellent. What an actor Hawkins was. Attenborough, too, is memorable as a meek, insecure character - all the more remarkable when one considers he was acting in a lot of war movies around this time which called on him to deliver something quite different. Diane Cilento, who was married to Sean Connery at this time, is attractive and vulnerable in her role, and the fine British actor Nigel Davenport registers in the tiny part of a TV producer.

The Third Secret is also the movie debut of Judi Dench, who handles an inconsequential role as Attenborough's assistant very well. Just think - From Russia With Love (1963) opened mere months before this movie, and it's a safe bet that never in a million years would Judi Dench have imagined that she would one day play Bernard Lee's character, "M"!

Fox Home Entertainment's DVD maintains the anamorphic aspect ratio and comes with the original trailer, a still gallery, and an interactive original pressbook. Picture and sound quality are tops.

For more information about The Third Secret, visit Fox Home Entertainment. To order The Third Secret, go to TCM Shopping.

By Jeremy Arnold

British Mystery-Drama The Third Secret On Dvd

British mystery-drama The Third Secret on DVD

The Third Secret (1964) is one of those deadly earnest, intellectually intriguing, British, black-and-white widescreen mystery dramas of the 1960s. It has something of the quiet, somber tone of movies like The Innocents (1961), Bunny Lake is Missing (1965) and The Haunting (1963) - with a tiny bit of Psycho (1960) thrown in to boot. As the story opens, a psychiatrist is found dead in his London home. Presumably it's suicide, but his 14-year-old daughter (Pamela Franklin) is convinced that it was murder - by one of his four current patients, all of whom suffer from severe neuroses. No one will listen seriously to Franklin except for Stephen Boyd, whom she convinces to look into the matter. Boyd plays a nationally-known American news commentator living and working in London, a convenient fact for it allows him to easily make contact with all the patients/suspects; since they recognize him, they are willing to meet and talk. And as he visits them, their personal stories play out as mini-movies of their own. There's Richard Attenborough as an art gallery owner with a mighty suspicious painting that he himself created; Jack Hawkins as a judge with some terrible secret in his past; and Diane Cilento as an unstable secretary. The fourth patient is Boyd himself, meaning he has his own private turmoil and is himself a suspect. (Originally there was a fifth patient, played by Patricia Neal; her role was filmed but ultimately deleted.) Boyd's character takes on a role of amateur detective, but he ends up as a de facto shrink, able to pull out the other characters' inner demons. The film in this way equates detective with psychiatrist, not necessarily an unfounded notion but representative of the movie's simplistic and outdated approach to mental illness. That can be forgiven in a movie which is really a mystery after all, and not a treatise on psychiatry, but the episodic style of the film doesn't help matters. The theatrical dialogue and overall approach tend toward the pretentious, especially in the depiction of Boyd and Franklin's strangely developing friendship. What The Third Secret does have going for it is a mystery that is nonetheless intriguing enough, as well as interesting, offbeat locations - notably the Thames riverbank scenes - and beautifully composed black-and-white CinemaScope photography, courtesy of director Charles Crichton and master cinematographer Douglas Slocombe. This is simply a beautiful movie to look at. Richard Arnell's score is also suitably creepy yet pretty, reflecting the fact that the picture tries not for cheap thrills but for steady ominousness. Young Pamela Franklin, who debuted in The Innocents three years earlier, is asked to carry a great deal of The Third Secret, and while she has been praised for her work here, this reviewer found her a bit overwrought. Stephen Boyd, who had done Ben-Hur (1959) five years earlier and was about to do another huge epic, The Fall of the Roman Empire (1964), has his moments here but is also too over-the-top, often going from a whisper to a shout and back again in the same speech. Perhaps some better overall modulation by director Crichton would have helped. The three "guest stars," as they are billed, fare better. Hawkins' gravelly presence injects welcome energy, and his scene with Boyd in his judge's chambers is truly excellent. What an actor Hawkins was. Attenborough, too, is memorable as a meek, insecure character - all the more remarkable when one considers he was acting in a lot of war movies around this time which called on him to deliver something quite different. Diane Cilento, who was married to Sean Connery at this time, is attractive and vulnerable in her role, and the fine British actor Nigel Davenport registers in the tiny part of a TV producer. The Third Secret is also the movie debut of Judi Dench, who handles an inconsequential role as Attenborough's assistant very well. Just think - From Russia With Love (1963) opened mere months before this movie, and it's a safe bet that never in a million years would Judi Dench have imagined that she would one day play Bernard Lee's character, "M"! Fox Home Entertainment's DVD maintains the anamorphic aspect ratio and comes with the original trailer, a still gallery, and an interactive original pressbook. Picture and sound quality are tops. For more information about The Third Secret, visit Fox Home Entertainment. To order The Third Secret, go to TCM Shopping. By Jeremy Arnold

Rachel Kempson, 1910-2003


Rachel Kempson, the matriarch of the Redgrave acting dynasty, and a notable performer of the stage and screen in her own right, died on May 24 of natural causes at the home of her granddaughter, the actress Natasha Richardson in Millbrook, New York. She was 92. Her family of performers included Kempson's late husband, Sir Michael Redgrave, children Vanessa, Lynn and Corin Redgrave, and granddaughters Natasha and Joely Richardson.

Born on May 28, 1910, in Dartmouth, England, Kempson longed for a career in acting. She trained as an actress at the Royal Academy of Dramatic Art (RADA) in London and made her professional stage debut in 1932 at the legendary Stratford-on-Avon Theater in the lead of Romeo and Juliet. She went on to perform with such distinguished theatrical companies including the Royal Shakespeare Company, the English Stage Company and the Old Vic. In 1935 she was asked to star in the Liverpool Repertory production of Flowers of the Forest. Her leading man was Michael Redgrave, one of the top actors of his generation. Within a few weeks they fell in love and were married on July 18, 1935.

Kempson took a break for the next few years, to give birth to her three children: Vanessa, Corin and Lynn, but by the mid '40s, she came back to pursue her career in both stage and screen. She began to appear in some films with her husband: Basil Dearden's The Captive Heart (1946); and Lewis Gilbert's tough war drama The Sea Shall Not Have Them (1954). She hit her stride as a character actress in the '60s with a string of good films: Tony Richardson's (at the time her son-in-law) hilarious, award-winning Tom Jones (1963); Silvio Narizzano's classic comedy Georgy Girl (1966) starring her daughter, Lynn; and John Dexter's underrated anti-war film The Virgin Soldiers (1969), again with Lynn. In the '80s Kempson had two strong roles: Lady Manners in the epic British television series The Jewel in the Crown (1984); and as Lady Belfield in Sydney Pollack's hit Out of Africa (1985), starring Robert Redford and Meryl Streep.

Kempson had been in semi-retirement after the death of her husband, Sir Michael in 1985. She made her last film appearance in Henry Jaglom's romantic Deja vu (1998) poignantly playing the mother to her real life daughter Vanessa. Kempson is survived by her three children and 10 grandchildren.

by Michael T. Toole

Rachel Kempson, 1910-2003

Rachel Kempson, the matriarch of the Redgrave acting dynasty, and a notable performer of the stage and screen in her own right, died on May 24 of natural causes at the home of her granddaughter, the actress Natasha Richardson in Millbrook, New York. She was 92. Her family of performers included Kempson's late husband, Sir Michael Redgrave, children Vanessa, Lynn and Corin Redgrave, and granddaughters Natasha and Joely Richardson. Born on May 28, 1910, in Dartmouth, England, Kempson longed for a career in acting. She trained as an actress at the Royal Academy of Dramatic Art (RADA) in London and made her professional stage debut in 1932 at the legendary Stratford-on-Avon Theater in the lead of Romeo and Juliet. She went on to perform with such distinguished theatrical companies including the Royal Shakespeare Company, the English Stage Company and the Old Vic. In 1935 she was asked to star in the Liverpool Repertory production of Flowers of the Forest. Her leading man was Michael Redgrave, one of the top actors of his generation. Within a few weeks they fell in love and were married on July 18, 1935. Kempson took a break for the next few years, to give birth to her three children: Vanessa, Corin and Lynn, but by the mid '40s, she came back to pursue her career in both stage and screen. She began to appear in some films with her husband: Basil Dearden's The Captive Heart (1946); and Lewis Gilbert's tough war drama The Sea Shall Not Have Them (1954). She hit her stride as a character actress in the '60s with a string of good films: Tony Richardson's (at the time her son-in-law) hilarious, award-winning Tom Jones (1963); Silvio Narizzano's classic comedy Georgy Girl (1966) starring her daughter, Lynn; and John Dexter's underrated anti-war film The Virgin Soldiers (1969), again with Lynn. In the '80s Kempson had two strong roles: Lady Manners in the epic British television series The Jewel in the Crown (1984); and as Lady Belfield in Sydney Pollack's hit Out of Africa (1985), starring Robert Redford and Meryl Streep. Kempson had been in semi-retirement after the death of her husband, Sir Michael in 1985. She made her last film appearance in Henry Jaglom's romantic Deja vu (1998) poignantly playing the mother to her real life daughter Vanessa. Kempson is survived by her three children and 10 grandchildren. by Michael T. Toole

Quotes

Trivia

Notes

Released in Great Britain in 1964.

Miscellaneous Notes

Released in United States 1964

Released in United States 1964