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Deep End

  • 1970
  • Tous publics
  • 1h 32min
NOTE IMDb
7,1/10
8,2 k
MA NOTE
Jane Asher and John Moulder-Brown in Deep End (1970)
15-year-old dropout Mike takes a job at Newford Baths, where inappropriate sexual behaviour abounds, and becomes obsessed with his coworker Susan.
Lire trailer0:54
1 Video
95 photos
ComédieDrameRomance

Mike vient de sortir du collège et trouve un emploi dans un établissement de bains londonien. Susan, son homologue féminin, arrondit ses fins de mois en proposant ses charmes à la clientèle ... Tout lireMike vient de sortir du collège et trouve un emploi dans un établissement de bains londonien. Susan, son homologue féminin, arrondit ses fins de mois en proposant ses charmes à la clientèle masculine. Amoureux jaloux de la jeune femme, Mike devient encombrant.Mike vient de sortir du collège et trouve un emploi dans un établissement de bains londonien. Susan, son homologue féminin, arrondit ses fins de mois en proposant ses charmes à la clientèle masculine. Amoureux jaloux de la jeune femme, Mike devient encombrant.

  • Réalisation
    • Jerzy Skolimowski
  • Scénario
    • Jerzy Skolimowski
    • Jerzy Gruza
    • Boleslaw Sulik
  • Casting principal
    • Jane Asher
    • John Moulder-Brown
    • Karl Michael Vogler
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    8,2 k
    MA NOTE
    • Réalisation
      • Jerzy Skolimowski
    • Scénario
      • Jerzy Skolimowski
      • Jerzy Gruza
      • Boleslaw Sulik
    • Casting principal
      • Jane Asher
      • John Moulder-Brown
      • Karl Michael Vogler
    • 58avis d'utilisateurs
    • 73avis des critiques
  • Voir les informations de production sur IMDbPro
    • Nomination aux 1 BAFTA Award
      • 1 nomination au total

    Vidéos1

    Trailer
    Trailer 0:54
    Trailer

    Photos94

    Voir l'affiche
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    Rôles principaux35

    Modifier
    Jane Asher
    Jane Asher
    • Susan
    John Moulder-Brown
    John Moulder-Brown
    • Michael 'Mike'
    • (as John Moulder Brown)
    Karl Michael Vogler
    Karl Michael Vogler
    • Teacher
    Christopher Sandford
    Christopher Sandford
    • Chris
    Diana Dors
    Diana Dors
    • Mike's 1st Lady Client
    Louise Martini
    Louise Martini
    • Beata
    Erica Beer
    Erica Beer
    • Baths Cashier
    Anita Lochner
    • Kathy
    Anne-Marie Kuster
    • Nightclub Receptionist
    • (as Annemarie Kuster)
    Cheryl Hall
    Cheryl Hall
    • Red Hat Girl
    Christine Paul
    Christine Paul
    • White Coat Girl
    • (as Christina Paul)
    Dieter Eppler
    Dieter Eppler
    • Stoker
    Karl Ludwig Lindt
    • Baths Manager
    Eduard Linkers
    Eduard Linkers
    • Cinema Owner
    Will Danin
    Will Danin
    • Younger Policeman
    Gerald Rowland
    • Mike's Friend
    Burt Kwouk
    Burt Kwouk
    • Hot Dog Salesman
    • (as Bert Kwouk)
    Sean Barry-Weske
    • Ruffian
    • (non crédité)
    • Réalisation
      • Jerzy Skolimowski
    • Scénario
      • Jerzy Skolimowski
      • Jerzy Gruza
      • Boleslaw Sulik
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs58

    7,18.2K
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    Avis à la une

    10jlabine

    Great Unique Sleeper

    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!!
    esotericbonanza

    Vivid and indelible.

    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.
    fastfilmhh

    My life in the "Deep End," and yours, too

    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.
    grantch

    Once seen, never forgotten

    Deep End, along with The House That Screamed, has immortalized John Moulder-Brown in my memory. I saw Deep End but twice ... once on its first release and a couple of years later in Copenhagen, but it is a unique movie which sticks in the memory and cannot be forgotten. With the advent of DVD, surely a company like Anchor Bay should resurrect this engrossing drama. Jane Asher is terrific. And former beauty Diana Dors is a hoot in her cameo appearance. Deep End remains three decades later one of my all-time favorite films.
    8aimless-46

    If You Can't Have the Real Thing – You Do All Kinds of Unreal Things.

    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.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      David Lynch once claimed, "There's never been a color movie I've freaked out over except one, this thing called Deep End."
    • Gaffes
      When Susan is talking to Chris on the telephone near the end of the film, she is clearly wearing tights even though she already took them off in order to strain the melted snow looking for the missing diamond.
    • Citations

      Michael 'Mike': I love her.

      Cinema Owner: You perverted little monster.

    • Connexions
      Featured in Hollywood U.K. British Cinema in the Sixties: Strangers in the City (1993)
    • Bandes originales
      But I Might Die Tonight
      (uncredited)

      Music by Cat Stevens

      Sung by Cat Stevens

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    FAQ

    • How long is Deep End?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 décembre 1971 (France)
    • Pays d’origine
      • Royaume-Uni
      • Allemagne de l'Ouest
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Grand bain
    • Lieux de tournage
      • The Englischer Garten, Munich, Bavière, Allemagne(Park)
    • Sociétés de production
      • Maran Film
      • Kettledrum Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut mondial
      • 454 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 32 minutes
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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    Jane Asher and John Moulder-Brown in Deep End (1970)
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    By what name was Deep End (1970) officially released in India in English?
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