It's only true to the greatness of Walsh that the best two-shots in the film take place in the most mesmerising of musical sequences. If Jean Douchet called him a Shakespearean filmmaker, this is his most Shakespearean work.
"If I had shot it twenty years ago, I would undoubtedly have had the director played by Cary Grant and the actress by Joan Fontaine, in all other production conditions of course and perhaps at that moment in this other life that I would have had, I would not have wanted to shoot that. It's a fantasy."
"Art is always an opening towards that which is behind, that which without art wouldn’t have been seen. And in this way a painting or a film could be a window."
Secret Beyond the Door encapsulates the concealing/disappearing quality of doors and windows, evokes the impression that there exists more than what is discernible and depicts the uncertainty of the abyss of possibilities behind it, something Rousseau strived to conceptualise throughout his career.
One of the most suspenseful…
There aren't many filmmakers in the world, let alone in India, who possess the ability to formulate the union of nature and individualism as well as Aravindan can. Moreover, when it's done with supernatural connotations, through an experience of faith and self-realisation, like in this film (and also in Esthappan), there really isn't much between divinity and his filmmaking.