The Deep Blue Sea

Overindulgent and somewhat stuffy romantic drama that is saved single handedly by the Oscar caliber performance of Rachel Weisz, who gives a very complex and realistic look at a women whose self destructing over her choices in life in post war Britain in the 1950's. Weisz so good that she brings a lot of life into a somewhat lifeless screenplay that is more into atmosphere than substance. Both of her leading men are fine and lent great support to the vibrant Weisz, who is keeping this film afloat almost by herself while the movie gets a bit claustrophobic towards its climax. The film does have some great moments ( The pub scene and the intimate moment between Weisz and leading man Tom Hiddleston while dancing) but that's more the credit to Weisz and the cast than the film itself. Rachel Weisz has always been one of the most gifted and versatile actresses working today, not being afraid to do different characters and being unlikeable and raw in the process. In this film, she gives in my opinion the best female acting performance in the last few years, giving a complex and rich performance with a character that could have easily been botch by even a great actress, especially with a screenplay that is more into itself than the audience watching the movie. Weisz proves in this movie that she's more than a great actress, she proves that she is one of the best actresses we ever had.

Her phenomenal performance alone is the real reason to see this movie.

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. His dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'The Deep Blue Sea' may not be among my favourite Rattigan plays ('The Browning Version', 'The Winslow Boy', 'Separate Tables'), but it's still wonderful and distinctively Rattigan. The writing is 24-carat Rattigan and the story is timeless in its searing emotion and romantic passion. It's very sharply observant and witty at times too. Of the four versions seen of 'The Deep Blue Sea' (this, Penelope Wilton, Vivien Leigh and Helen McCrory), this one is my least favourite, the McCrory stage version coming out on top.

It certainly has its merits. Its best asset is the acting, with the creme De la creme being a stunning Rachel Weisz, a heart-breaking, passionate and sympathetic performance but with a dignity and strength that prevents Hester from being too passive. Tom Hiddleston brings charm to a very caddish role, while Simon Russell Beale successfully stops Collyer from being too one-sided and Barbara Jefford is suitably icy. Karl Johnson is a kindly Mr Miller and Ann Mitchell is solid as rocks. Weisz and Hiddleston have an intense and poignant chemistry together.

Visually, 'The Deep Blue Sea' looks beautiful. Especially the sublime and hauntingly atmospheric cinematography, which perfectly complements the sumptuous, evocative period detail. Terence Davies captures the passionate intensity and searing emotion of the story very well, there are some very affecting moments here and the tea scene at the mother's house is very well written and acted and the ending is powerful.

Rattigan's writing shines on the most part, heavy on talk (true of the play and Rattigan in general) but intelligent, sharply observant, thought-provoking and full of pathos and insight.

However, some aspects of 'The Deep Blue Sea' frustrate annoyingly. Too often, the film mood-wise takes itself too heavily and too seriously. The play has a serious subject, but Rattigan also in the play gave it his usual wit and verve that helped it not get too heavy. This wit and verve is completely lost here and as a consequence the film feels too dark in terms of mood and overly gloomy and the leaden pace in some scenes, which felt like it was stretched to pad things out, disadvantages it further.

Didn't know what to make of the music. With the pre-existing music, it is lovely music on its own but didn't fit with the film, being used in a way that felt overused and excessive that made the story more melodramatic than it actually is. Barber's beautiful Violin Concerto, played just as well by Hilary Hahn in one of the more famous interpretations of the work, is particularly true to this, on its own lovely, excessively melodramatic in how it was used in the film.

First 10-15 minutes were puzzling, with images that came over as very fragmented and self-indulgent and the flashbacks don't add as much as they ought and convolute the storytelling. Those unfamiliar with the play should not be put off and think the play is like how the story is presented here, with the messing around of chronology the story felt jumbled, disjointed and incomplete here whereas the structure and character motivations (which were not explored enough here meaning that the complex characters are not as complex) are much clearer in the play.

Overall, a lot of beautiful things but it was very frustrating when reminded constantly at how so much better the film could have been if told with more clarity and taken less seriously. 6/10 Bethany Cox

This film is recommended.

Based on Terence Rattigan's 1952 play, The Deep Blue Sea is stylish soap opera at its best, and an overly ripe melodramatic downer at its worst. The film is reminiscent of the type of films that were popular fare in the fifties. ( And please, don't confuse it with the similarly titled shark attack movie some years back. ) No blood is spilled in this movie adaptation, but many lives are destroyed as loss and suffering does take its toll.

It is post-war Britain. Ruins are everywhere, from the bombed-out buildings to the people who inhabit them. There is a drabness in their hopeless lives, their colorless clothes, and their everyday routines. One such person is Hester Collyer, an unhappy romantic soul, trapped in a comfortable but loveless marriage to Sir William, a wealthy judge. Of course this means only one thing: suicide or an affair is in the offing. Fortunately ( or unfortunately, as the case may be ) after she meets a dashing but lonely RAF pilot named Freddie, there is a temporary respite from her real world. Lust, sin, and passion become the missing strands to her unraveling world ( which is not too surprising when one sees Hester's blatant scarlet red coat that overtly signals a Prynne moment is upon us. No subtlety lost here. Code Red, or is that Coat Read? )

This period melodrama is terribly British with a capital B. All proper diction, words unsaid, and formal reserve. Everyone is so noble and refined. Writer / director Terence Davies evokes the right atmospheric mood as we become lost in Hester's memories. He has a fine visual eye for those bittersweet times and Davies sensitively recalls the aftermath of WWII most efficiently with his use of popular and classical music and strong imagery, especially the impressive Underground bomb shelter scene. After an overly slow beginning, the director paces his film quite well using sounds, silences, and pauses in the characters' reactions to their conversations most effectively in telling his tale of a love undone.

The film sporadically uses these moments to tell the story of the makings of a passionate love affair, but its fragmented structure never allows us to understand Hester's attraction and her rationale to her self-proclaimed changes in her life. She's portrayed as a sympathetic victim, yet this character chooses the very unhappy lifestyle that she now wallows in, and we moviegoers are unable to see the results of her actions. It's as if some parts to her past are missing and sketchy, especially the happier times.

As the damaged Hester, Rachel Weisz is quite smashing. This talented actress fills her slightly underdeveloped role with such clarity and depth. ( Her scene in the pub as she stares into her lover's eyes while becoming uninvolved with the rowdy goings-on during the sing- along of a Jo Stafford tune says more than mere words could have expressed. ) It is a powerful nuanced performance. Completing the love triangle is Simon Russell Beale as her concerned husband and Tom Hiddleston as her cad of a lover. Both actors create indelible contrasting personalities, although the character of Freddie comes off the worst of the pair. Solid support from Ann Mitchell as Hester's landlady and Barbara Jefford is Hester's judgmental mother-in-law round out this wonderful ensemble.

The Deep Blue Sea is a successful throwback to the the great David Lean film, Brief Encounter. Only this time, the encounter is not brief and fleeting, just fleeting. It takes the moviegoer back to a former time, unlike today, when movies had a heart and mind, and dare I say, soul. GRADE: B

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"Love, that's all." (Hester responds to her husband when he asks her what happened.)

No film in recent memory is as depressing as The Deep Blue Sea, Terence Davies' adaptation of Terence Rattigan's play. In either venue, the story of Lady Hester Collyer (Rachel Weisz) and her infidelity will sear your brain in recognition of the perfect storm of love and lust sung to the tune of 1950's conservatism, which largely meant staying with a spouse regardless if it's a loveless marriage.

Freddie (Tom Hiddleston), a WWII Brit flyboy, hasn't graduated yet from the romance of that war to the responsibilities of true love in civilian life. Hester unfortunately is ripe for romance with him as her older husband, a high court judge and a peer, is caring but far too reserved to provide a tender woman with the love she needs.

This is a simple film of measured speech in the tradition of West End thespian greatness. Unlike the orderly upper class, love is not simple but rather messy. In the claustrophobia of her apartments, either beautifully appointed with Sir William Collyer (Simon Russell Beale) or bare with Freddie, Hester is always waiting, either for her husband to love her or her lover to stay with her. Ironically Sir William is waiting, too, with love taking its measure of despair from those who love. As for charming Freddie, he is exuberant, careless, and destructfully self-centered.

Davies and Rattigan intercut between times to make The Deep Blue Sea seem just that: fragmented and deeply melancholic. Yet despite the incoherence, you'll not see a better acting trio this year. Where the play lacks vibrancy or heart, the actors give it their best.

When Freddie consoles Hester upon leaving her with this cliché, "Never too late to start again, isn't that what they say?" he is also hitting the center of her tragedy—she is so passive that this may be the first and last adventure she will ever have.

All that's left is the estranging deep blue sea:

Who ordered that their longing's fire Should be as soon as kindled, cooled?

Who renders vain their deep desire?

A God, a God their severance ruled!

And bade betwixt their shores to be The unplumbed salt, estranging sea.

Matthew Arnold, "To Marguerite—Continued"

The Deep Blue Sea is a dramatic romance which takes place around the post-war (WWII) period where the young wife of a British judge starts having a love affair with a royal air force pilot. The confusion and complexity or their situation puts their love into some strong tests. Mostly for their own self-challenge. Rachel Weisz is mature and amazing as a leading actress, and then comes Tom Hiddleston who unveils a beautiful supporting performance and freshens up a little bit the foggy mood of the film.

Terence meets Terence and a wonderful theatrical film comes to life. T. Davies wrote the screenplay and also directed the movie based on a love story play by T. Rattigan. The cinematography is absolutely theatrical. Feels like a never-ending stage. Therefore, expect some -not very long- slow scenes accompanied with instrumental classic music. The story leads you to expect and understand the outcome as it is.

If you want to see a good drama, this romantic one may be it.