L'Autre Homme

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

After her second Oscar in Streetcar Named Desire Vivien Leigh made only three more films and in all of them she played older women who are hungering for love. Hardly the image of the saucy Scarlett O'Hara which she won her first Oscar with, but it did allow her to transition into roles for older women. This one her in The Deep Blue Sea is way too uncomfortably close to her real life.

In this film it opens with her attempting suicide and being saved by prying neighbors. Her much younger second husband has left her and in flashbacks we learn what was going on. Vivien had been raised a prim and proper church girl with a country parson for a father. She learned the biblical view of sex that did not leave much room for later research into the field on a more clinical basis. She married the older and more settled Emlyn Williams who is a judge. But as they got older Emlyn got less interested in sex. Enter Kenneth More who was an RAF air ace and now a test pilot. That's real glamor for her and like Anna Karenina, another Leigh part she leaves Williams and runs off with More.

But More's got issues also, he's an alcoholic and deep down he's looking for a mother figure. Since she and Williams had no children, Leigh isn't recognizing this nor is she prepared to deal with it.

Terrence Ratigan adapted his own play to the screen and rather well since the play only takes place in Leigh's apartment. We get some scenes of London night life in 1955 and with More's job, part of the film takes place at an air show. On Broadway the play ran for 132 performances in 1952-53 and starred Margaret Sullavan.

Offering advice and counsel is defrocked psychiatrist Eric Portman who is a neighbor. But as Leigh finds out as does the audience there are no no easy answers.

The Deep Blue Sea is not as good a work from Ratigan as The Browning Version or Separate Tables. Still the cast performs well, especially Vivien Leigh who made very infrequent screen appearances now.

For a while it looked as though the BFI's Vivien Leigh season would be without "The Deep Blue Sea". As others have noted here, it's been unavailable for many years. Programme notes revealed that the BFI has a single 35mm print in its archive - with faded colour, sound damage in the first and last reels, and many splices. Nothing better could be located anywhere in the world. The BFI digitised the print and this was shown tonight to a sold-out house seemingly well aware this may be the only chance to see the film on the big screen. It looked better than anticipated. The performances are excellent. Incidentally, whoever said the film is "stagebound" can't have seen it since 1955. Rattigan's play has been cleverly opened out with flashbacks, many locations (among them an air show, Klosters, and the London Embankment) and several big studio sets including a law court, bars and pubs, and a huge recreation of London's Soho. I didn't have a pen and and have now forgotten many of the uncredited actors. But they include Frederick Schiller, Gerald Campion, Jacqueline Cox, Shandra (later Sandra)Walden, Amanda Coxell (later Mandy Harper),Patricia Hayes, Raymond Francis and John Boxer.

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.