Deep End

I first saw "Deep End" shortly after its release, it played at the base theater during my Air Force days. Films on base ran for only one day (three shows) and this was one of a handful that drew capacity crowds to the later shows due to "word of mouth" praise by those who attended the first screening. I finally got the opportunity to view it again last week and was not disappointed.

About all I recalled from my long ago first viewing was the Jane Asher full-size cardboard stand-up and the color red. Meaning that director Jerzy Skolimowski managed to create some powerful imagery that stayed in my mind over all those years, which is more than I can say for a lot of films. My association of the color red now makes perfect sense as that was obviously the imagery that Skolimowski meant to drill into each viewer's mind. From Asher's red hair (in the film itself and in the promotional poster where it trails off into blood), to the new color being painted on the walls of the bathhouse, to the blood that punctuates certain climatic moments in the story.

Skolimowski was Polanski's screenwriter for "Knife In the Water" and stylistically "Deep End" has a Polanski flavor (it certainly has its "Repulsion" moments). I was also reminded of a Judy Geeson film from about the same time "Goodbye Gemini" (1970); a London setting and a doomed pair of mismatched lovers. If you are looking for a more useful comparison think of a bizarre marriage of "The Summer of 42" (1971) and "Play Misty For Me" (1971).

But "Deep End" is too grounded to be overwrought; its romantic obsession - coming of age story rings surprisingly true. Probably because the gritty is evenly blended with the abstract in a storyline that nicely cuts between accidental and destined.

Just out of school, 15 year-old Mike (John Moulder-Brown) goes to work as the towel boy at a seedy London bath house. Asher plays Sue, an older co-worker who reveals that some of the clientèle are good for extra money in exchange for titillation in the private rooms. In an extraordinary scene an aging Diana Dors explores Mike's interest in football (soccer).

Sue is a mega-tease; she is stringing along a rich fiancée, having regular private sessions with one of Mike's former teachers, servicing assorted clients at the baths, and getting her perverse kicks turning on Mike. Sue is not atypical in her level of irresponsibility and Mike is not atypical in his level of naiveté. Stuff like this plays out everyday. But Mike's obsession begins to get a bit twisted when he first realizes that Sue and his former teacher have a relationship. And Skolimowski goes from broken mirror to ripped poster to broken glass to blood; substituting visual images for overwrought melodrama. Glass (mirror, fire alarm, diamond, light bulb) substitutes for Mike's fragile psyche and distorted perception, pictures (the PSA poster on the bulletin board and the cut-out girl Mike steals) substitute for a normal boy-girl relationship, and paint and hair substitute for blood.

"Deep End" is a film in motion, it never slows down and its scene transitions run from excellent to lame. I don't remember the theatrical showing well enough to say whether the version I just watched was intact. But I suspect that it has been hacked up and trimmed, which would explain the more inexplicable scene transitions. There is some support for this notion in that it has been converted into a 4-3 aspect ratio and has lost all the end credits except a few bars of the same Cat Stevens song that ran over the opening titles. If it ever gets a DVD release I hope they can find a better example to digitize.

The best way to understand it is to be open to the interplay of Skolimowski's images, these provide the texture of his film. The story may appear to be being told from Mike's point of view but it is the texture that allows the viewer to go beneath the surface of the deep end and to see the dance between love and death. Then again, what do I know? I'm only a child.

I had been searching for this gem for nearly 15 years, until I found it. When I did, it was as good as I imagined! The film follows the adolescent obsession of a 15 year old (John Moulder Brown) seedy (Newford) Bath House attendent. He falls under the romantic spell of a red haired tease (brilliantly played by Jane Asher), that toys with his emotions to the brink of taking him over the mental "deep end". Director Jerzy Skolimowski's film is so unique that it deals with the mind set of a sexually inexperienced youth in a way that is comedic, sensitive, and yet totally insane. Parts of the character reminded me of a darker Max Fletcher (the child character in "Rushmore") and a less calculating Tom Ripley (see "The Talented Mr. Ripley"), but totally immerssed in a Mod London invironment that is saturated in sex and seediness. What strikes me as interesting, is that you can never tell if London was meant to be represented in such a sexual red light, or if this is all just how the protaganist views London with sexually curious eyes of puberty? My one criticism towards John Moulder Brown is his English accent tends to sound more proper rather than lower class Cockney, which would have suited the story's angle. Jane Asher's performance however is truly amazing! Her use of the dialog, is completely naturalistic in approach. I always feel as an eavesdropper to someone's private conversation. Check out the scene in which her and John Moulder Brown are trying to retrieve a diamond from a pile of snow, and sprinkled in the dialog are comments of her being hungry (it would seem strange to see those lines written in the script, which leaves me to think it may be improvised?). And when she tells off the Gym Teacher (one of her lovers) and then continues to work on finding her diamond. Totally improvised and naturalistic!!! As a person like myself who studies acting, I was quite impressed by her acting, and am saddened that she has not appeared in more films (she seems to be mostly known for being the ex-girlfriend of Paul McCartney). The music soundtrack to the film is of great interest as well. It contains the song "But I Might Die Tonight" by Cat Stevens as the title track, and different variations of that theme supplied by either Cat Stevens or (Kraut rock group) Can. It also contains one of Can's most amazing tracks "Mother's Sky" in a great scene where the boy stalks his obsession to a London Club, then to a seedy Nude Girl joint which contains a cardboard cut out of her, then to an out-of-commision prostitute, and then finally to the London Underground where he confronts Jane Asher. All done with the surreal mind, of what only a 15 year old could conjure up. The film contains many surreal moments, in which the boy sinks to the bottom of a pool and eyes a naked woman swimming underneath him. Or when the boy jumps off a diving board and lands on top of the cardboard cut out in a pool. He again sinks to the bottom holding the cut out as if it was her. This film captures the complete frustration of that age, and the yearning to be a part of the sexually grown up world that is just out of reach, but keeps getting dipped towards your hands by a taller, more mature (?) tease. Unfortunately, teasing an imature boy can also have very horrible consequences. Highly recommended!!! One of my all time favourite films!!! I give it a 10!!

Deep End is a practically unheard of film these days - but it's a surprisingly good one that urgently needs a bigger audience. The film is basically a coming of age story involving young love and teenage angst. Despite the fact that everything in this film has been seen before in other films, it all comes together well and doesn't feel like it's just rethreading old ground, which is very much to it's credit. Writer-director Jerzy Skolimowski does a really good job of telling his story too, which means that deep End is an easy film to get along with. The title refers to the film's central location - a swimming pool. We focus on Mike, a young lad fresh out of school who has just got his first job as a pool attendant at the local bath house. On his first day, he meets the beautiful Susan and falls head over heels in love with her. Trouble is, Susan already has a fiancé and while she kind of likes Mike, she doesn't take him seriously...leading Mike to become frustrated and willing to do anything in order to have Susan all for himself.

The two central performers are really good and responsible for a lot of the film's success. Jane Asher is absolutely beautiful and it's easy to see why she'd have a young lad lusting after her. Horror fans will likely recognise John Moulder-Brown from classic horror The House That Screamed, as well as Hammer Horror Vampire Circus. He's good here too, and expertly captures the immaturely and lust of youth. The film itself is always interesting and the director keeps the central relationship at the forefront of the film, which helps to keep things interesting. The film is set in 1970's London, and the director does a good job of capturing the gritty feel of the city. A lot of the film takes place inside a swimming baths, but sequences that take place in sleazy corners of the city are among the best of the film. The director does have an eye for sleaze too - some of the bath house punters are rather shady characters, and we've also got scenes set inside a prostitute's room and an adult movie theatre. The ending is iconic and memorable, and manages to tie up all the film's central themes. Overall, this really is a very good film that more people need to see!

A teenage boy's first job is as an attendant who brings towels and other items to an odd clientele at a public bath house that is equipped with what appears to be an olympic sized swimming pool. He immediately falls for his co-worker, a young woman in her twenties, who leads him on a bit out of fun, and even has some sexual interest in him as we see in one scene when she spies him putting his pants on. While she remains detached he goes from infatuation to obsession, following her and her fiancé around town after hours. However the more important action occurs in the bathhouse which looks run-down and is photographed in its drabby and richly dark colors. The place itself is as as much importance as are the two main characters, the boy who is coming of age and the object of his obsession, his pretty young co-worker. In an ideal setting things would have been different, but here the decrepit bathhouse seems to influence the events in a darker and mildly disturbing way. Within it occurs the film's climax, in the pool, with the two of them, his obsession,and her sexy acquiesence, leading to the ending that makes this a movie that you may not always think about, but probably won't forget.

Vividly shot on location, this is a fantastically alive film, springing nervously and excitedly around the most immediate of instinctual feelings. Managing with precision to communicate the sensory effect of these emotions, Deep End is almost a primal film, and is told largely from the perspective of its lead male character, mirroring his understanding of the world as one of absolutes and intensities. Snappily edited and perceptively performed, this is an indelible experience.