Deep End

I finally saw this film, remembering it from one of my cult movie books I acquired a long time ago. Always meant to get around to seeing it.

This is a strange film about a young teen boy who is "coming of age" as it were, and fumbling about with his hormones and a major crush in cloudy, dreary London.

His crush in on Susan, one of those disaffected types that works at a "bath house" where he manages to find employment. The manager tells him upon his hire, "work hard, and you might find yourself behind this desk someday!"--as if that were a good thing--while he chuckles and exposes his rotting teeth. Certainly a bit of a metaphor there.

Susan likes to tease the kid, Mike, and other men as well. She shows him the ropes at the pool house, and suggests he "plays along" with some of the female clients in the private baths, to get extra tips. Susan does the same, going a bit further than just playing around.

Susan's sexy teasings lead Mike to have a dangerous infatuation with her, which leads to some bad places.

At the same time, we are introduced to all sorts of characters, none of who are good. It seems everyone is sex charged, in negative ways; a pervy "coach" who likes little girls, Diana Dors thrown in there as an orgasmic patron, sex workers, even a young school colleague of Mike's who wants to have sex with him in her bath. You may ask yourself, what's in the water at this place?

And speaking of this place, for me, the star of this movie is the creaking, grotesque bath house. Shabby and run down, it is exactly the place you would NOT want to get naked and have a bath at. You get the impression that even the water is dirty. I have always had a bit of a phobia of large, indoor bodies of water, and if you feel the same, you will be haunted by this movie. There is a creepy, gigantic pool, which for some odd reason has a cluster of huge steel spotlights hanging above it. Every hallway, every bath is decrepit and falling apart. It looks like something that survived-barely-the bombing of London, so someone bought it on the cheap and made it a bath house. Yech.

What starts as an odd, intriguing film runs out of steam 1/2 way through. The more Mike is obsessed with Susan, the less interesting the whole thing becomes.

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.

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!!

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.

Okay, here's a cine-challenge. There are some films that take you back to a particular time in your life at absolute warp speed. Frequently, these films are reasonably universal, but their associations might be obfuscated, personal and subjective, never understood even by your friends unless explained. One such film, which chronicled absolute obsessive teenage love and its destructiveness was a wake-up call to a frequent, formerly obsessive type, myself in my misspent youth. This and the film's innate mastery instantly time-travel me back to days that were simultaneously more innocent and more complicated than today, late night smoky college discussions in a candle-lit apartments.

And that film would be "Deep End" directed by Jerzy Skowlimowski, pal of Roman Polanski, with the same great mix of bizarre sensibilities and takes on life, done in professional, Hollywood-caliber production, even if on an indie budget.

It's from 1970, featuring music by Cat Stevens (Yusef Islam now to the non-infidel) and two unbelievably strong leads: a 15-year-old John Moulder Brown and 25-year-old Jane Asher (Paul McCartney's 1960's trophy girlfriend.) I never even knew Asher had these acting chops: she outdoes Susan Sarandon (similar upper class background) for letting us in on the nuances of a naturally pretty, fairly low-class young person. Moulder-Brown was the go-to kid for late 60's/early 70's films that required a teen to actually act. (Both are still working, happily.)

This is a dance of death pas de deux between a teen boy working at a grimy public pool in Britain, all hormones and eagerness, and his slightly older female co-worker, who's both a beauty and a inveterate tease. These two should never have been allowed to work together, as he quickly fixates on her, stalks her, and she tries to control the situation with her normal, over the top sexual flirting. It's pretty light and entertaining for a while, then it goes south. . . The title is "Deep End," after all. I've rarely seen a such a disturbing, creepy film about young lust that still has you rooting for everyone involved, no matter how wrongly they both behave. That's the sign of a sure cinematic touch.