By Joseph Sassine

We often forget that those who suffered at the hands of Nazism were real people who had experienced love, romance and passion before their lives were taken. Un Secret, directed by Claude Miller, inspired by Phillipe Grimbert’s factually based novel of the same name, explores one family’s dark hidden secret. Through his inner voyage, François, discovers an overwhelming truth of his parent’s past – a truth that gives a chance to start building his life.

The movie begins in Paris, 1955 where the frail, fragile and sickly François (Valentin Vigourt), a frail, fragile and sickly boy struggles against his athletically inclined parents expectations of greatness, while trying to live up to his imaginary brother, who is both strong and fearless: everything that François is not. After discovering a plush toy dog in the attic, he upsets his pool bound mother Tania (Cecile De France) and his gymnastic fanatic father Maxime (Patrick Bruel). At the age of 15, long-time family friend, Louise (Julie Depardieu) reveals to François his family origins and his family’s secret: he had a half-brother.

Pre-WWII scenes show Maxime’s and Tania’s past life. Maxime is engaged to Hannah (Ludivine Sagnier) and Tania is happily married to Hannah’s brother (Robert Plagnol). Despite his love for his brand new wife, Maxime can’t keep his eyes of the stunningly beautiful, Tania, who is blonde and vivacious. Hannah’s and Maxime’s child, Simon (Orlando Nicoletti), is the picture perfect son – strong and athletic.

Life seems all well and good for the happy family until Nazi Germany occupies Paris.

The movie follows three separate but connected timelines: France pre-WWII, post-WWII, and black and white 1985. Un Secret relies on an array of emotionally complex flashbacks, narrated by 37-year-old François (Mathieu Amalric) who tries to piece together the history of his parent’s shattered past. Though hard to follow at first, Claude Miller uses the flashbacks to his full advantage: Maxime’s fight against his Jewish heritage, acknowledging himself as a Parisian first and a Jew second, and the tragic events that bring Tania and him together.

The on screen chemistry between Patrick Bruel and the two lead actresses (Cecile and Ludivine) is believable to the point that the brief and seldom moments of eroticism are vivid. Relying on a mixture of silence, ambience and dialogue, the movie is simplistic in the fact that it does not rely on heavy amounts of melodramatic appeal allowing the audience to experience the characters emotional and physical presence. If you have a chance, close your eyes during the farm scenes and prepare to step into a world of peaceful serenity: the sound of rushing water and the chirping of birds as a cool breeze brushes by. It is here where one can see where the true beauty of this movie lies in the eyes, mouth, and form of the stunningly beautiful Cecile De France who leaves audiences mesmorised from the first faceless glimpse.

My only fault of the movie is that the time frame jumps too rapidly between time periods in some areas, leaving the audience dazed and confused. Some of the jumps seemed irrelevant and unnecessary but thankfully this was only for a small minority of the scenes, with Miller adopting a linear style of narrative midway through the movie with minor time jumps.

My verdict:

A first-rate story of love, loss and heartache.

«««« ½ / 5