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Secret Ceremony
Theatrical release poster
Directed byJoseph Losey
Screenplay byGeorge Tabori
Based onCeremonia secreta
by Marco Denevi
Produced by
Starring
CinematographyGerald Fisher
Edited byReginald Beck
Music byRichard Rodney Bennett
Production
company
World Film Services
Distributed byUniversal Pictures
Release dates
  • 23 October 1968 (1968-10-23) (United States)
  • 19 June 1969 (1969-06-19) (London)
Running time
109 minutes
CountryUnited Kingdom
LanguageEnglish
Budget$2.5 million[1]–$3.1 million[2]
Box office$5.2 million[2]

Secret Ceremony is a 1968 British psychological thriller[3] film directed by Joseph Losey and starring Elizabeth Taylor, Mia Farrow and Robert Mitchum.[4][5][6] Based on the 1960 novel Ceremonia secreta by Argentine author Marco Denevi, the film follows an indigent prostitute who meets a strange young girl who insists that she is her long-lost mother.

Plot

[edit]

While on a bus in London, Leonora, an ageing prostitute, is approached by a waiflike young woman, Cenci, who utters the word "mummy". Cenci follows Leonora to a cemetery where the latter stops to mourn her daughter, who drowned five years earlier at the age of 10. Leonora is taken aback by Cenci's resemblance to her deceased daughter, and hesitantly agrees to accompany the girl to her opulent mansion, where she lives alone. Leonora soon finds that she bears a striking resemblance to Cenci's late mother, Margaret. Although initially unsettled by Cenci's childlike behaviour and need for affection, Leonora agrees to live with her as her surrogate mother.

Leonora hides when Cenci's aunts Hannah and Hilda unexpectedly visit the mansion. The aunts antagonise Cenci while surreptitiously stealing valuable objects, which is witnessed by Leonora. The next day, Leonora visits Hannah and Hilda at their antique shop, lying that she is Margaret's cousin. The aunts tell Leonora that Cenci took care of Margaret through her illness with no help, and that she refused to accept her mother's death. They also reveal that Cenci is 22 years old, despite looking and acting much younger, and that Margaret threw out Cenci's stepfather, Albert, after catching him trying to seduce Cenci. Leonora admonishes the aunts for failing to protect Cenci and warns them to stay away from the mansion.

While alone in the mansion, Cenci is visited by Albert. After she trims his beard, he asks her to make the moaning sounds she made while they had sex; she refuses but eventually obliges, leading Albert to kiss Cenci. Leonora returns to the mansion to find a shaken Cenci cowering under a sink, and Cenci mentions Albert's visit. Leonora and Cenci later check into a luxurious seaside hotel. That night, when Cenci arrives at the dining room sporting a fake baby bump, Leonora is stunned but plays along with the ruse.

The next morning, Albert arrives and confronts Leonora on the beach, declaring that Cenci is mentally unstable and had repeatedly tried to seduce him. Back in their hotel room, Cenci begins to kiss Leonora's back while giving her a back massage, before Leonora angrily tells Cenci to stop. Leonora then forces Cenci to face reality by ripping off her fake baby bump, sending Cenci into a frenzy. Later, from her balcony, Leonora witnesses Cenci and Albert having sex on the beach. When Cenci returns, she sends Leonora away, no longer seeing her as her mother.

Back in London, Cenci overdoses on pills, intending to commit suicide. Shortly afterwards, Leonora visits Cenci and begs to be allowed to stay in the mansion, but Cenci rebuffs her once again. As Leonora leaves, Cenci collapses to her death. Standing beside Albert in silence at Cenci's funeral, Leonora pulls out a knife and stabs him to death. Lying on her bed, Leonora listlessly hits the cord of a ceiling lamp while reciting a nursery rhyme about perseverance.

Cast

[edit]

Production

[edit]

Development

[edit]

The short story on which the film is based won a $5,000 prize in a competition run by Life en Español. It had already been filmed for Argentine television when it was optioned in 1963 by Dore Schary.[7]

In an October 1969 interview with Roger Ebert, Mitchum claimed that the film's production was "in trouble" when he arrived and that his presence did not help.[8]

Filming

[edit]

The production budget for Secret Ceremony was between $2,450,000[1] and $3,173,212.[2] The main location for the film was Debenham House in London. Other London locations were St Mary Magdalene Church in Paddington, the area around the Molyneux Monument in Kensal Green Cemetery and the junction of Chepstow Road and St Stephen's Mews in Paddington.[9] The hotel and beach scenes were shot around the Grand Hotel Huis ter Duin in Noordwijk, the Netherlands.[9][10]

  • Debenham House
    Debenham House
  • St Mary Magdalene Church
    St Mary Magdalene Church
  • Kensal Green Cemetery
    Kensal Green Cemetery
  • Chepstow Road corner shop
    Chepstow Road corner shop
  • Hotel Huis ter Duin as it looked at the time
    Hotel Huis ter Duin as it looked at the time

Release

[edit]
Theatrical advertisement from 1968

Secret Ceremony was released theatrically in the United States by Universal Pictures on 23 October 1968.[11] It premiered in London the following year on 19 June 1969.[12]

Home media

[edit]

Universal Pictures Home Entertainment released Secret Ceremony on VHS on 31 October 2000 as part of their Universal Treasures line.[13]

Kino Lorber issued a North American Blu-ray edition of the film on 21 April 2020.[14] The British distributor Powerhouse Films subsequently released a Blu-ray in the United Kingdom.[15]

Reception

[edit]

Box office

[edit]

The film earned approximately $3 million in United States and Canadian rentals,[16] with a worldwide total gross of $5,232,905.[2]

Critical response

[edit]

The Monthly Film Bulletin wrote: "Secret Ceremony is constructed on the dualist view of man as a battleground for the twin aspirations of Good and Evil. Appropriately, in view of its schizophrenic theme, two is the film's magic number: two mothers and two daughters, two aunts, two fathers, two funerals, two baptisms (one actual, one metaphorical when Leonora accepts Cenci as her daughter), and above all, two temples of communion. ... In many ways, notably in its insidious illumination of the fascination of madness, Secret Ceremony reminds one of Lilith [1964], but the style is entirely Losey's own, a return to the crystalline ellipses of Accident [1967] after the opulent undulations of Boom! [1968], and with superb, unexpectedly funny characterisations by the entire cast."[17]

Renata Adler in the New York Times wrote that it was "incomparably better" than its predecessor, Accident, and that beneath its "elaborate fetishism and dragging prose, there is a touching story of people not helping enough," but she admitted that the film had its "longueurs, but not beyond endurance."[18]

Ernest Callenbach of Film Quarterly wrote it was "difficult to guess" what the film was about, but felt that its "dominant note, if there is one, is of Losey's usual creepy, misanthropic disgust with sex and how people misuse each other to get it." He also praised Mia Farrow's "touching and perverse and human" performance.[19]

Modern appraisal

[edit]

Writing 30 years later after its release, John Patterson of The Guardian listed Secret Ceremony among the Losey films he dismissed as "woefully misguided material."[20]

Dave Kehr of the Chicago Reader lambasted the film as embodying the director's "worst tendencies as a filmmaker: the movie is cold without being chilling, confusing without being challenging."[21]

The Radio Times Guide to Films gave the film 2/5 stars, writing: "This moody mistaken-identity melodrama quickly becomes a macabre muddle of daft sexual psychosis and suspect psychology when nympho Mia Farrow adopts prostitute Elizabeth Taylor as her surrogate mother after a meeting on a London bus. The return of Farrow's stepfather Robert Mitchum provides this meandering morsel of Swinging Sixties gothic with a suitably off-the-wall climax.[22][23]

Dan Callahan at Senses of Cinema suggests that Secret Ceremony's failures may serve as its virtues, comparing the film favorably to Some Like It Hot (1959) or Duck Soup (1933).[22]

Callahan writes:

Secret Ceremony is a film that is so bad, so irredeemably, lovably foolish, that it provides the sort of life-embracing laughs many comedies fail to engender…Is there room to include such a film among a great director's great works? Unless we are unnecessarily stuffy, which would miss the point of his career entirely, the answer has to be yes.[22]

Leslie Halliwell offers this concise critique: "Nuthouse melodrama for devotees of the director."[24]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Secret Ceremony

View on Grokipedia
from Grokipedia
Secret Ceremony is a 1968 British psychological drama film directed by Joseph Losey, with a screenplay by George Tabori based on the short story "Ceremonia secreta" by Argentine author Marco Denevi. The film centers on Leonora, an aging prostitute played by Elizabeth Taylor, who meets the eccentric young Cenci (Mia Farrow) on a London bus; Cenci insists Leonora is her deceased mother, drawing her into a lavish but deceptive domestic arrangement that unravels with the arrival of Cenci's stepfather Albert (Robert Mitchum). Filmed primarily in and released by , Secret Ceremony marked a collaboration between Losey—exiled from Hollywood due to the McCarthy-era —and prominent stars seeking challenging roles amid their career transitions. Taylor, fresh from Who's Afraid of Virginia Woolf?, portrayed the vulnerable Leonora in a performance noted for its emotional depth, while Farrow, post-, brought a haunting fragility to Cenci's childlike yet disturbed persona; provided a brooding as the enigmatic Albert. The film delves into themes of , maternal loss, incestuous undertones, and psychological unraveling, blending gothic elements with modernist unease in Losey's signature style. Upon its October 1968 premiere in the United States, it garnered mixed critical responses for its bold narrative risks and uneven pacing, earning a 64% approval rating from critics and a 55% audience score on . Over time, Secret Ceremony has been reevaluated as a within Losey's oeuvre, praised for its atmospheric tension and the trio of lead performances.

Synopsis and Cast

Plot

Leonora, a middle-aged prostitute grieving the drowning death of her young daughter, leaves a client in her dingy hotel room and takes a bus ride, where she is stared at intensely by Cenci, a fragile young woman who follows her to a . There, as Leonora mourns at her daughter's grave, Cenci approaches and insists that Leonora is her long-deceased mother, citing a striking physical resemblance shown in family photographs. Seeing an opportunity for shelter and financial gain, Leonora accompanies Cenci to her opulent, cluttered mansion filled with lavish furnishings and her late mother's wardrobe. At the mansion, Cenci, who exhibits childlike behaviors such as wearing short dresses and knee socks while asking naive questions about sex and family, convinces Leonora to fully assume the role of her mother. Leonora dons her "mother's" elegant clothes and the two women bond over shared experiences of loss, with Leonora gradually shifting from opportunistic motives to a genuine maternal protectiveness toward the isolated Cenci. They perform a "secret ceremony," a private ritual that cements their delusional mother-daughter relationship, involving prayers and intimate declarations. In one notable scene, they share a bath in the mansion's bathroom, where Cenci playfully splashes water but reveals fragments of her traumatic past, deepening their emotional connection. Cenci gradually discloses her family secrets: her father Gustave is long dead, leaving her the family fortune; her mother died after discovering an incestuous affair between Cenci and her stepfather Albert, an American academic; Cenci had cared for her ailing mother alone during her final days. Cenci's aunts, Hannah and , intrude on the mansion, rummaging through rooms, stealing valuables, and gossiping about Albert's prior for "interfering with a minor"—referring to his of Cenci—while attempting to declare Cenci incompetent to control her inheritance. Leonora confronts the aunts aggressively, driving them away and reinforcing her role as Cenci's guardian against the family's exploitative dynamics. Albert reappears, sending cryptic postcards and lurking outside the mansion before entering uninvited, resuming his manipulative influence over Cenci and stirring jealousy in Leonora. Cenci's mental instability intensifies; she regresses further, stuffing a toy frog or pillow under her dress to simulate a , claiming it as a result of her relationship with Albert, which provokes a heated argument and physical altercation with Leonora. Albert and Cenci rekindle their abusive liaison, exacerbating the household's tensions and Cenci's detachment from reality. Overwhelmed by the resurfacing trauma and conflicts, Cenci commits in a fit of despair. In a violent fueled by and rage, Leonora attacks and kills Albert, ending his threat but leaving her isolated once more, returning to a solitary life in a hotel room.

Cast

The principal cast of Secret Ceremony (1968) features as Leonora, a streetwalker who assumes the role of a surrogate mother to the troubled Cenci. At 36 years old during production, Taylor was navigating a career pivot toward more introspective dramatic roles following her iconic portrayal in (1963), exemplified by her Academy Award-winning performance in Who's Afraid of Virginia Woolf? (1966). Mia Farrow portrays Cenci, a psychologically fragile young woman grappling with loss and delusion. Aged 23 at the time of filming, Farrow was emerging from her breakthrough in the horror classic (1968), which signaled her shift from television roles in series like Peyton Place (1964–1966) to demanding psychological characters requiring emotional depth. Robert Mitchum plays Albert, Cenci's enigmatic and predatory stepfather figure. Then 51, Mitchum brought his signature brooding, world-weary persona—honed in staples like (1947) and Night of the Hunter (1955)—to the ambiguous antagonist, embodying a cynical with underlying menace. Supporting the leads, Pamela Brown appears as Hilda, the scheming aunt who aids in exploiting Cenci's vulnerability. British stage veteran Brown, known for authoritative roles in films like (1964), lent a sharp, amoral edge to the character at age 51. Peggy Ashcroft plays Hannah, Hilda's conniving partner in the antique shop and another opportunistic family member. The acclaimed actress, celebrated for her Shakespearean work and Oscar-nominated turn in (1984), was 61 during shooting and contributed a subtle, insidious presence to the role. Minor roles include Robert Douglas as Sir Alex Gordon, Cenci's beleaguered uncle, portrayed by the 58-year-old character actor familiar from swashbucklers like (1952); and George Howell as the first cleaner, among other brief parts filled by actors like as the hotel assistant. These supporting figures enhance the film's claustrophobic family dynamic without overshadowing the central trio.

Production

Development

The film Secret Ceremony is an adaptation of the short story "Ceremonia secreta" by Argentine author Marco Denevi, originally published in the magazine Life en español on December 12 and 26, 1960, after winning a literary prize selected from over 3,000 submissions. The project originated as a potential for , proposed by her agent and brought to director following his success with The Servant (1963). Losey, seeking to expand his exploration of psychological themes, commissioned Hungarian-born and to adapt Denevi's story, with the script completed by around 1965—approximately three years before began. Tabori, known for his work on Alfred Hitchcock's I Confess (1953), collaborated closely with Losey to emphasize the narrative's elements of emotional isolation and delusion. Producer Norman Priggen, operating through his company World Film Services, Ltd., oversaw alongside co-producer . Financing was secured primarily through Universal Pictures, Ltd., and Paul M. Heller Productions, with an estimated budget of $2.45 million, reflecting the era's high costs for star-driven international co-productions despite the story's unconventional focus on mental fragility and familial dynamics. Challenges arose in assembling funding, as the project's abstract elements diverged from mainstream commercial fare, though Universal's involvement provided stability via a pre-arranged television distribution deal worth $1.5 million. Development spanned from the early , when rights to Denevi's story were acquired, through scripting in the mid-, to revisions in 1967–1968 that refined character motivations amid shifting prospects. For the lead , Losey initially envisioned an capable of conveying mature emotional vulnerability, a quality he later identified in after their collaboration on Boom! (1968); Taylor, upon learning of the shelved Bergman project during , advocated for its revival and her own as Leonora. This decision marked the transition from to filming, aligning the script more closely with Taylor's interpretive strengths.

Filming

Principal photography for Secret Ceremony commenced in March 1968 and extended over several months, primarily in and the , though production faced interruptions that prolonged the schedule. Key filming locations included at 8 Addison Road in , , which served as the exterior for the film's brooding mansion, with some interiors recreated on soundstages. Other London sites encompassed St Church in Rowington Close, , for initial pursuit scenes; the corner antique shop at St Stephen’s Mews and Chepstow Road in Westbourne Green; and various exteriors in . In the , exterior and holiday sequences were shot at the Grand Hotel Huis ter Duin on Koningin Astrid Boulevard in , capturing the decaying seaside atmosphere. The film was shot on 35mm film in , with by Gerry Fisher emphasizing saturated hues and natural lighting to heighten psychological tension. Editing was handled by , while composed the original score, incorporating dissonant elements to underscore the narrative's unease. Production encountered several challenges, including Elizabeth Taylor's mid-shoot hysterectomy, which required recovery time and delayed filming. Interpersonal tensions arose between director and , leading to depart early and skip certain scenes, such as a planned bathtub sequence. Taylor's personal marital strains with were also exacerbated by the demanding shoot. The production budget totaled $2.45 million, fully financed by .

Release

Theatrical Release

Secret Ceremony premiered in the United States on October 23, 1968, distributed by as a capitalizing on the star power of , , and . The film received an R rating from the of America, reflecting its exploration of sensitive themes including and violence, though no major cuts were reported for international markets. The premiere followed on June 19, 1969, with limited rollouts across beginning earlier that year, including releases in on February 17, 1969, on February 27, 1969, and on February 21, 1969. Marketing efforts included trailers that underscored the film's enigmatic atmosphere and themes of family secrets, alongside posters prominently featuring Taylor in a dramatic role signaling her return to intense character work. Press junkets emphasized director Joseph Losey's reputation for arthouse sensibilities, positioning the film as a blend of commercial appeal and psychological depth. In the 2020s, the film saw renewed theatrical interest through festival screenings, such as a presentation at the in May 2022. It opened to modest audiences in its initial U.S. run, setting the stage for further international exposure.

Home Media

The film was first made available on in the United States through a VHS release by MCA Home Video in 1987. A later VHS edition was issued by Universal Home Video on October 31, 2000, as part of their Universal Treasures line. The initial DVD edition appeared in the from Video on May 15, 2006, presented in the original 1.85:1 with no additional special features. In the , issued the first domestic DVD and Blu-ray releases simultaneously on April 21, 2020, under their Studio Classics banner. The Blu-ray featured a new 2K transfer from the original elements, preserving the 1.85:1 and original mono audio track, along with an track by film historian Tim Lucas and the original theatrical trailer. A limited-edition Blu-ray from Powerhouse Films in the UK, released on October 24, 2022, as part of their Indicator Series, offered a high-definition remaster with enhanced special features, including an by critics Dean Brandum and Alexandra Heller-Nicholas, a 1969 archival interview with director , a 2019 interview with producer Gavrik Losey (Losey's son), the 1971 television version with additional scenes, the theatrical trailer with commentary by writer Larry Karaszewski, and an image gallery. No 4K UHD editions or further international variants have been announced as of 2025. As of November 2025, Secret Ceremony is not available for streaming on major platforms such as or the Criterion Channel, nor for digital rental or purchase through services like or Vudu; remains the primary access method.

Reception

Box Office Performance

Secret Ceremony was produced on a budget ranging from $2.45 million to $3.2 million, with providing full financing. The film generated approximately $3 million in North American theatrical rentals, leading to a worldwide gross of around $5.2 million and achieving moderate profitability for the studio. Domestic performance in the United States was relatively strong, with the film breaking attendance records at arthouse venues such as the Sutton and New Embassy theaters in New York, as well as in during its initial limited release in October 1968. Internationally, it succeeded in several markets, including a top-20 ranking among foreign films at the French box office and strong results in , , and ; however, earnings were weaker in the owing to a delayed premiere in 1969. The 1968 release landscape featured intense competition from high-grossing blockbusters like 2001: A Space Odyssey, which earned approximately $58 million domestically and dominated theaters, likely limiting audience reach for more niche dramas such as Secret Ceremony. High salaries for stars including and elevated production expenses, influencing the film's net returns. Long-term earnings from re-releases remained minimal. Adjusted for , the original gross equates to roughly $48 million in 2025 dollars.

Contemporary Critical Response

Upon its release in late 1968, Secret Ceremony garnered mixed , with praise for its lead performances tempered by criticisms of narrative confusion and stylistic excess. of hailed it as director Joseph Losey's strongest work in years, surpassing his prior film (1967), and lauded the opulent, lacquered decadence that effectively underscored the , though she acknowledged occasional tasteless elements amid the stylish direction. Other New York-based reviewers, however, dismissed the film more harshly, contributing to an overall drubbing in that market. Critics frequently acclaimed Elizabeth Taylor and Mia Farrow's on-screen chemistry, with Farrow's portrayal of emotional vulnerability drawing particular note as a highlight of her early career. Robert Mitchum's supporting role also received positive mentions for adding gravitas to the proceedings. Yet, the consensus leaned negative regarding the plot's incoherence and over-the-top gothic flourishes, often described as uneven or baffling in execution. The film's exploration of taboo themes, including incestuous undertones, sparked controversy, especially in light of Taylor's transition from glamorous Hollywood icon to more gritty, auteur-driven roles, echoing Losey's earlier class-inflected dramas like The Servant (1963). In the UK, responses were similarly divided, with some outlets critiquing the pacing and perceived exploitation of sensitive subjects, while European critics, particularly in where Losey was revered as an , offered more favorable takes. The lukewarm notices likely contributed to modest box-office turnout in major markets. No major awards nominations followed, underscoring the film's polarizing initial impact within 1960s psychological horror trends.

Modern Critical Appraisal

In the decades following its release, Secret Ceremony has received renewed attention from critics and scholars for its unflinching examination of psychological fragmentation and interpersonal exploitation. The 2020 Blu-ray edition revitalized interest through supplementary materials, including an by film historian Tim Lucas, who lauds director Joseph Losey's handling of trauma as "strange and beguiling," emphasizing the surreal interplay between reality and delusion that exposes the characters' emotional voids. Derek Smith's review in echoes this, rating the film 3.5 out of 5 stars and hailing it as an "underrated" work that probes the female psyche through its portrayal of tacitly shared madness, where the boundaries between victim and enabler blur in a feverish . Similarly, a in The Cultural Gutter positions the film as a gothic of emotional vampirism, underscoring Losey's stylistic flourishes—like the opulent yet imprisoning mansion—as metaphors for inner decay. Thematic analyses from the 2000s onward delve deeply into the film's portrayal of incestuous tensions, maternal delusions, and class-driven manipulations, often framing them through Freudian lenses of repressed desires and Oedipal strife. Losey's adaptation, via George Tabori's screenplay, amplifies these elements from Marco Denevi's surrealist "Ceremonia Secreta," transforming the source's dreamlike ambiguity into a theatrical confrontation with subconscious drives, as explored in academic feminist readings that highlight the power imbalances exacerbating the protagonists' vulnerabilities. The narrative's Gothic influences are evident in its motifs of haunted inheritance and psychological entrapment, drawing parallels to literary traditions of familial horror where isolation breeds delusion. Mia Farrow's as the fragile heiress Cenci echoes the vulnerability she portrayed in Rosemary's Baby (1968), filmed the previous year, with critics noting how it intensifies the film's exploration of innocence corrupted by dependency. Retrospective appraisals have elevated Secret Ceremony's cultural legacy, particularly in the #MeToo context, where its depiction of grooming, abuse cycles, and silenced trauma resonates as a prescient critique of patriarchal and familial exploitation. Comparisons to modern films like Hereditary (2018) underscore shared concerns with generational curses and domestic horror, though Losey's work anticipates these through its baroque emotional intensity rather than overt supernatural elements. The film has enjoyed revivals in the 2021–2025 period, including festival screenings and podcast discussions on platforms like , where its themes of isolation gain fresh relevance amid ongoing conversations about psychological thrillers. Scholarly work further attributes the film's motifs of alienation to Losey's personal history as a Hollywood exile during the McCarthy era, which infused his oeuvre—including this film's cloistered dynamics—with a pervasive sense of displacement and unspoken .

References

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  10. https://johnnyalucard.com/2016/11/15/film-review-secret-ceremony/
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  13. https://www.britannica.com/biography/Mia-Farrow
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  37. https://www.the-numbers.com/movie/2001-A-Space-Odyssey
  38. https://www.officialdata.org/us/inflation/1968?amount=5200000
  39. https://londoninbits.substack.com/p/electric-theatre-secret-ceremony
  40. https://www.slantmagazine.com/dvd/review-joseph-losey-secret-ceremony-on-kino-lorber-blu-ray/
  41. https://repositorio.ufsc.br/bitstream/handle/123456789/215349/PGET0454-D.pdf
  42. https://www.sensesofcinema.com/2003/great-directors/losey/
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