Secrets & Lies - Sequence Analysis
'Maurice in his studio' sequence:
- Use of montage shows all the different people who go to Maurice's studios, with them reflecting on his own life
- Maurice's clear lack of satisfaction with life - shown through his dull-coloured clothing, lack of facial expression and slow movement - is mirrored by the customers in the studio
- These customers get to choose how they appear for the photo and create an idealised version of themselves for the camera, which contrasts with the harsh realism in the rest of the film and in Maurice's life
- This reflection of Maurice's insecurities is seen most clearly through the customer who speaks about her 'fertility treatment' as she stands next to her three daughters - this is the main problem in Maurice's family as his wife can't conceive
- The fast pace of the montage, rarely lingering on a scene for more than ten seconds, also contrasts the slowness of the scenes before and after it
- The camera is at a medium close-up suggesting that, whilst the camera offers an insight into the lives of the customers, it is incomplete and Maurice - who is barely seen in this sequence - can't fully escape his own life through them
- The cast of customers harks back to the kitchen-sink realism of British cinema in the 1960s with characters representing a slice-of-life from all parts of British society, with Leigh visually showing class differences and race inequalities through this (the two main themes of the film) - regardless of background, however, everyone is just putting up a façade (like the man pretending he is being married, or the family who don't want to smile)
'Maurice visiting Cynthia' sequence:
- Maurice immediately goes into the toilet, isolating Cynthia, even though they have just been reunited - the closed door and framing where we hear both of them but only see Cynthia (and then see Maurice through a slit only) indicates that their connection has been permanently ruined - naturally due to their class (outdoor toilet is a very lower-class thing to have, contrasts what we've seen of Maurice's house)
- At the table conversation, the camera frames Maurice and Cynthia at opposite angles, jumping between them instead of showing them together - even though they started life from the same place, they've ended up going down very different paths
- Performance-wise, Cynthia has lots of tics with her hand which are heightened when Maurice invites her over, whereas Maurice sits still and calmly - shows Maurice is in control over Cynthia which is further explored when he lies to her (''It was Monica's idea actually'' , ''scaffolding... that's very well paid")
- The camera is still when Maurice and Cynthia aren't in the same frame, but is in motion when they are - whereas later on they reluctantly become closer, initially there is still uncertainty and Cynthia is clearly uncomfortable, especially Maurice has turned up unannounced
- The realism of the scene comes from the performances being front-and-centre, with Leigh making sure that the actors are always the main focus, taking up most of the screen with close-ups - the class divide is as clear-as-ever through costume and mannerisms and the claustrophobic-ness of Cynthia's house
- Use of montage shows all the different people who go to Maurice's studios, with them reflecting on his own life
- Maurice's clear lack of satisfaction with life - shown through his dull-coloured clothing, lack of facial expression and slow movement - is mirrored by the customers in the studio
- These customers get to choose how they appear for the photo and create an idealised version of themselves for the camera, which contrasts with the harsh realism in the rest of the film and in Maurice's life
- This reflection of Maurice's insecurities is seen most clearly through the customer who speaks about her 'fertility treatment' as she stands next to her three daughters - this is the main problem in Maurice's family as his wife can't conceive
- The fast pace of the montage, rarely lingering on a scene for more than ten seconds, also contrasts the slowness of the scenes before and after it
- The camera is at a medium close-up suggesting that, whilst the camera offers an insight into the lives of the customers, it is incomplete and Maurice - who is barely seen in this sequence - can't fully escape his own life through them
- The cast of customers harks back to the kitchen-sink realism of British cinema in the 1960s with characters representing a slice-of-life from all parts of British society, with Leigh visually showing class differences and race inequalities through this (the two main themes of the film) - regardless of background, however, everyone is just putting up a façade (like the man pretending he is being married, or the family who don't want to smile)
'Maurice visiting Cynthia' sequence:
- Maurice immediately goes into the toilet, isolating Cynthia, even though they have just been reunited - the closed door and framing where we hear both of them but only see Cynthia (and then see Maurice through a slit only) indicates that their connection has been permanently ruined - naturally due to their class (outdoor toilet is a very lower-class thing to have, contrasts what we've seen of Maurice's house)
- At the table conversation, the camera frames Maurice and Cynthia at opposite angles, jumping between them instead of showing them together - even though they started life from the same place, they've ended up going down very different paths
- Performance-wise, Cynthia has lots of tics with her hand which are heightened when Maurice invites her over, whereas Maurice sits still and calmly - shows Maurice is in control over Cynthia which is further explored when he lies to her (''It was Monica's idea actually'' , ''scaffolding... that's very well paid")
- The camera is still when Maurice and Cynthia aren't in the same frame, but is in motion when they are - whereas later on they reluctantly become closer, initially there is still uncertainty and Cynthia is clearly uncomfortable, especially Maurice has turned up unannounced
- The realism of the scene comes from the performances being front-and-centre, with Leigh making sure that the actors are always the main focus, taking up most of the screen with close-ups - the class divide is as clear-as-ever through costume and mannerisms and the claustrophobic-ness of Cynthia's house
Daniel, your sequence analysis is highly engaging, nuanced and 'filmic'. Your range of points tap in to the aspects of the film which define it as British. These include the contextual issues, insights into the characters and the issues around class and gender.
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