Alternate Best Actor 1996: Timothy Spall in Secrets & Lies

Timothy Spall did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying Maurice "Morris" Purley in Secrets & Lies.

Secrets & Lies is showcase on how to do a drama of its type, as it so carefully maneuvers around the melodramatic or patronizing pitfalls within the genre, to craft something quite special in its story of a woman, Hortense, (Marianne Jean-Baptiste) attempting to connect with her biological mother, which is not at all a simple prospect.

Well finally we have arrived to Timothy Spall, who I've yet to come across in this endeavor, despite being such a memorable performer, in many notable films. Thankfully I can rectify that oversight here. Timothy Spall plays the brother of the mother, Cynthia, (Brenda Blethyn) of the woman, whose story is in a way adjacent to the main thrust of the drama, however he is essential to the film. This as we are introduced him seemingly as almost the yin to the yang ov his downtrodden sister, as Spall's Maurice we find at first as a successful photographer. We see him at his craft and I suppose in a way we are allowed to see the unique power of Spall, as these scenes seemingly should be perfunctory, however they are remarkable, with Spall being essential in this. This as he brings his unique presence here, that is more subdued than he sometimes is, as he is here portraying Morris strictly as a real person, who knows his trade. Spall in every one of the photography scenes, even when we so often just hear his voice attempting to get a smile or a movement out of his subjects, is oddly electric. Spall captures this curious charisma in these moments in that his voice inspires a comfort, in the strict compassion in his timbre, even as he is conducting his subjects in a way, it is with this gentleness, but also wry quality Spall finds. He delivers this wonderful quality in Morris's manner as something so genuine in the way he speaks to his subjects as just this gentle friend, trying to get the best out of them.

While Spall carries Morris with just a gentle honest bright smile at his work, we follow the man to his home life, where Spall still defines the man through his compassion however with a striking nuance. This as we see Morris interact with his wife who suffers from chronic pain. There is a difference in Spall's work in these moments in that we do see a great effect on his own self, as the degree of somberness in his work is found. Spall is remarkable in the way though he is able to show it as something that affects him, but doesn't ruin him. Spall rather in this is able to convey the empathy in these reactions towards his wife in this instance, even as some of her frustrations are quite intense. Spall though emphasizes his concern though in every gentle word, and even as his eyes gathers a sadness, it is for his wife rather than himself. We find the very same in the first scene we see him interact with his sister. This is prefaced in the moments where he remarks on Cynthia around his wife, who is somewhat hostile towards her. Spall though, even as he speaks on Cynthia's troubles, is with this quiet love. This even when speaking that a child picture was one of the last time she smiled, Spall words are spoken with a soulfulness who regrets the suffering she's had to undergo. The same we see when interacting with her directly, where Spall brings a modesty of concern, as his eyes look to offer support to his sister, quietly yet so assuredly, as Spall's work is so authentically caring.

It is often the mistaken view that a character must be deeply flawed to give an actor something to do, though while that is indeed mistaken, I think actually playing a purely good character is in itself a challenge. This as the performer must both avoid being dull within this goodness, but more importantly must be authentic and real within this nature. Spall gives a masterclass here on how to portray a good-natured person. This as he's anything but dull, because of how genuinely he brings to life Morris's empathetic manner. This is as we even see him speak on his mother, and reflect on his distant father through the lens of understanding that distance. Spall makes this so convincing though in his eyes portraying a man perceiving a proper self-analysis with a concept for the way of natural human behavior. Spall is pure, but not angelic. He's a man, but such a good man that he makes this powerful truth. This is especially well shown in a scene where the former owner of his photography shop stops by, clearly destitute and bitter. Spall is magnificent in this scene as he draws only sympathies as he speaks to the man, this bringing a gracious quality of a host, but pulls back from being a fool. This as when the man accuses Morris of ingratitude and taking his success in a way, Spall is perfection by not breaking a facade, but showing the same good man even when handling hostility. This as Spall's delivery is firm, not-sadistic, but also confident. Spall shows a man clearly putting his foot down when he is right, but doing everything in his power to help ease the situation. His face in particularly finding such a notable sense of patience of Morris, which even in bad moments holds firm.

Spall's work I think is essential to the film's greatness in that he offers a contrast to the more melancholic moments involving Blethyn's Cynthia particularly in the early scenes. He's not just a bright spot, but also to ensure a variety within the idea of the life of the family, rather than hammering in the misery with no respite like in the domestic dramas of Ken Loach for example. The film culminates as Cynthia and her two daughters, one not knowing the other, to Morris's home for a barbecue. This where we see Spall as the gracious home, which expectedly, Morris/Spall make for a low key charming host, as he speaks to anyone the interest is with an absolute genuine interest. This though with his eyes capturing a concern though still wondering the slight tensions he notices in his sister. Spall so earnestly portraying the way he's tuned into his sister, noticing something off, but just with a calm worry. This is as much as Morris remains calm, Cynthia does quite the opposite in revealing the secret of who her mystery guest is, as her daughter to all those gathered there, in basically the worst possible way. This leading her younger daughter, as high strung as Cynthia, to breakdown. I love Spall in this sequence as he reflects how torn up Morris is about it, even though it is hardly his fault, but rather in his eyes that show the heartbreak for his family's suffering. This as even as the rest of the family continue the conflict, Spall is fantastic in offering the steadfast nature of Morris as he takes in the pain of the situation. This is until he gives a final speech of the film, which other than speaking the titular line which feels slightly distracting, is just an outstanding scene. This is so well earned, and performed by Spall. This as he does deliver an explosion as Morris finally just speaks everything in the open to clear it up, and his anguished delivery offers a man not upset over the pain, but rather upset over the suffering caused his family not taking the moment to simply listen to one another. It is so beautifully cathartic as Spall unleashes this moment so authentically as Morris's nature in a way having enough, but trying to get everyone else to see things as he tries so hard to do. Although the film was much lauded, Spall missed out on recognition other than his hometown of the BAFTAs, which is not surprising given the quiet nature of the role. That is unfortunate though, as this is a great performance by Spall, as he creates such poignant and believable portrait of goodness, that isn't as some intangible saint, but just as a down to earth good man.