The Deep Blue Sea

To all extents and purposes this film adaptation of Rattigan's arguably most famous play is lost. It was also written by Rattigan himself which gives it extra value as it broadens out the drama and uses flashbacks which could not be used on the stage, showing the growing relationship between the two lovers played by Vivien Leigh ( an extraordinary performance ) and Kenneth More as her weak willed lover. Emlyn Williams plays her unimaginative husband and he too stands out as being just right for the role. In fact the whole cast is excellent and Moira Lister is almost a match for Vivien Leigh in her gossipy role of a neighbour who tries to help when Hester ( Vivien Leigh ) tries to kill herself. The performance that is equal to Vivien Leigh is that of a struck off doctor played superbly by the great actor Eric Portman, and in the penultimate scene of the film he gives a light of hope in the darkness of the play which is both wise and moving. That this underrated film may have been too downbeat for audiences and perhaps critics alike is sadly possible in 1955, but for an audience of today the complexities of physical passion and love could be fully understood. So why has it not been put on to DVD ? There must be a good copy out there as it was shown at the National Film Theatre in recent years. So again who is sitting on it and why are no distributors interested ? I possess a poor copy of it in drained out colour, jump cuts and yet despite this the film glows and resonates. No Vivien Leigh film should be forsaken like this; especially a film of her last years when her acting was at its finest. Personally I find this loss shameful and should be rectified as soon as possible. Since writing the above review I have just seen it on UK Talking Pictures, and many thanks for showing it. The film looks almost perfect in Cinemascope and much cleaned up. Leigh is devastating, and Kenneth More's performance excellent. A heart breaking play and a heart breaking film.

Anyone expecting an aristocratic performance by Vivien Leigh is doomed to disappointment. Clad in a drab series of blouses and slacks, she makes Hester Collier a self-interested neurotic perpetually needing succour from anyone willing to listen. Her main problem is a lack of self-reliance, as the Doctor (Eric Portman) informs her. The men in her life are self-interested in their different ways, and have no emotional capacity to empathise with her. The only person who understands anything is her landlady (Dandy Nichols).

Director Anatole Litvak opens the play to include multiple views of the seedier parts of London, where Hester (Leigh) has voluntarily ended up. The sera is hard and tough - not the place for a shrinking violet trying to assert her authority yet failing.

Terrence Rattigan's play was a popular success in London, tho not in the NY production that starred Margaret Sullavan. There were two revivals last year, one in London and one in NY, starring Blythe Danner. Although the movie is boxy and stagebound, it does preserve one of Rattigan's most entrancing creations, Hester Collyer (Vivien Leigh), a woman all at once rabid with latent sexual desire and without remorse or ounce of self-pity for her choices. The performance more than meets the requirement that Hester should never be viewed as either sordid or immoral. Listen, this is the early 50s.

Rattigan's closest American playwright kin was William Inge. Like Inge, he favored characters tormented with issues out of sexual repression and the price they paid for what society, then, viewed as their *sins.* Like Inge, Rattigan was homosexual and often used his characters to illuminate his own dark closet. A video transfer is desperately needed.

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 emotionally searing. This rarely viewed and as of now unavailable film version of 'The Deep Blue Sea' is deserving of more exposure.

It may not be one of the best representations of Rattigan in general (i.e. 1951's 'The Browning Version', 1948's 'The Winslow Boy' and 1958's 'Separate Tables'), but it is as good an adaptation of 'The Deep Blue Sea' as can suffice (not the best but one of them). It is a shame that it is unavailable on DVD and can as of now only be viewed in a rather poor print on Youtube. If and when available on DVD, while it's not perfect it deserves to be, it needs to be a restoration. It is a shame that it got a tepid response when released, it is understandable in a way that it didn't connect with viewers considering the film competition that year and that it was considered too cold, talky and sedate at the time and perhaps the subject was a little inaccessible to some at the time.

With that being said, 'The Deep Blue Sea' is still well worth the viewing. Mainly for seeing Kenneth More in one of his best performances (he is brilliant here), Vivien Leigh in an achingly personal performance (that sees her as beautiful, but not too beautiful, and to me she wasn't too cold) and the two of them together in a pretty passionate chemistry (do disagree respectfully with More himself that it was poor) that contrasts well with the suitably passionless one for Hester's marriage as it should be. Plus a sterling, distinguished supporting cast with Eric Portman and Emlyn Williams being the standouts. The only exception with the latter is Jimmy Hanley, who is a little wooden.

Malcolm Arnold's music score is understated but swells passionately at the right moments. The script is thought-provoking and observant, with the wit and nuances captured well even with changes, there is a lot of talk but that is the case with the play itself and Rattigan in general. The story may not be as searing as with the play and may lack its intimacy in places, but the characters, the meaty way they're written and their stories are handled quite well.

Anatole Litvak's direction could have been more expansive, other film adaptations of Rattigan's work have done a better job of opening up their respective source material and even extending it, and although it is an intimate story the direction is a little too sedate and self-contained. 'The Deep Blue Sea' has been criticised for substandard production values, to me the settings and costumes are lovely to look at and some of the film is atmospherically lit but it is let down by the poor print with the faded and grainy picture quality and less than lavish and at times incomplete looking photography.

Overall, underviewed film that despite its faults is interesting and worth the watch. 7/10 Bethany Cox

"Suicide is painless", the M. A. S. H. song announced, but Hester (played by a negative Vivien Leigh) is determined to commit suicide, beginning and ending the film on the verge of it.

I have long admired Ukrainian-born Director Anatole Litvak for his ability to bring emotional situations to the screen, and I am particularly fond of GOODBYE AGAIN and SNAKE PIT, but here the room where pretty much all the action unfolds has no view at all, other than suicide.

Perhaps the beautiful Vivien Leigh identified with Hester's plight because in reality she was a nymphomaniac bipolar schizophrenic who kept cheating husband Laurence Olivier with Peter Finch and a host of other men, and it fits that she might want to convey to all that she could only see suicide as the solution. Sad as that might be, she died in 1967 of chronic TB.

I watched a shabby, rather unfocused copy of this claustrophobic film on Youtube, which only rendered it bleaker, but I still liked Kenneth More's performance, a happy jobless golfer brimming with unconcerned humor and selfishness, Eric Portman as the horse race bookie apparently preparing medication for the quadruped competiitors who comes to her rescue, Emlyn Williams, as her ditched Old Bailey judge husband who still loves her but is shunned, Moira Lister as the gossipmonger of a neighbor, and other minor characters who you can see fitting into this play by Terence Rattigan.

Vivling, as Larry Olivier used to call his then wife, delivers a rather cold and helpless performance vaguely reminiscent of Blanche in STREETCAR NAMED DESIRE but without the sympathetic touch and the deft direction of Kazan, and not even Jack Hildyard can save the film from unremitting hopelessness with his usually top notch cinematography, here reduced to pretty one living room, with the odd exterior shot.

All told, I can understand why the film rated a dud with critics when it came out. 6/10.