The Deep Blue Sea

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The Deep Blue Sea

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The Deep Blue Sea

Rachel Weisz, Tom Hiddleston, Simon Russell Beale, Ann Mitchell, Jolyon Coy

Master chronicler of post-War England, Terence Davies directs Rachel Weisz as a woman whose overpowering love threatens her well-being and alienates the men in her life. In a deeply vulnerable perform... read more read more...ance, Rachel Weisz plays Hester Collyer, the wife of an upper-class judge (Simon Russell Beale) and a free spirit trapped in a passionless marriage. Her encounter with Freddie Page (Tom Hiddleston), a troubled former Royal Air Force pilot, throws her life in turmoil, as their erotic relationship leaves her emotionally stranded and physically isolated. The film is an adaptation of British playwright Terence Rattigan's 1952 play, featuring one of the greatest roles for an actress in modern theatre. -- (C) Music Box Films

Id: 11163270

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The Deep Blue Sea Recent Reviews
  • fb1038944442
    January 16, 2013
    fb1038944442
    The Deep Blue Sea is an intricate, subtle and exquisite looking chamber soap opera, set in post war London of 1950. The spare and brilliant adaptation of one of Britain's greatest 20th century playwrights, Terence Rattigan, is brought to life and very much into film language by ... read moreanother Terence (Davies) a filmmaker's filmmaker. Davies has only produced a handful of films in the last twenty years, and this may be his best.

    Please be warned this film is exceptionally slow moving, with gaping, meaningful pauses you could drive a panzer division through. Since all those pauses are fraught with meaning and precise and deeply felt acting, I was not bored. If you like your movies full of dialogue and action, you might asleep before act one closes. It also jumps back and forth in time, and you need to be alert to figure out where you are in the story.

    Rachel Weisz plays an lady married to a much older successful judge, who throws away her whole life for love, (or really for good sex) with a younger, dumber war hero (Tom Hiddleston, the bad guy Loki of The Avengers), who is more or less the opposite of the cultured and thoughtful man to whom she is married (Simon Russell Beale). These three actors do wonderful internal work that is full of subtext and deep emotion. They are all perfect, but Weisz is a standout. Hester is a strong, misguided woman trying to find herself in a pre-feminist world and her performance resonates very deeply and hauntingly.

    The mystery is why a woman (Hester) would throw away a comfortable, cultured life for unrequited love (of which her eyes are fully open) to a man who may be good in bed, but is in no other way worth it. Her attempted suicide is her first reaction. The question is never answered, but the tragic end of the story, (a failed suicide attempt) still leaves a hopeful crack open in the the door for Hester, who has lost everything, to find a fulfilling life for herself.

    The selling point for me, is the stunning looking film itself. Every shot is a glowing work of art, using the drab post war London as a backdrop. There's a long tracking shot during a flashback during the London blitz, that as stunning and moving a moment in any film I've seen this year. The huddled, frightened Londoners cheer themselves up by joining in song. Later, in the present, some drab looking pub goers do likewise singing the Jo Stafford version of "You Belong to Me" under muted and warm light. Of course that song is a fitting subtext for the film..

    The film has my highest recommendation, but don't rent it if you're feeling sleepy (or adulterous).
  • fb100000145236770
    December 14, 2012
    fb100000145236770
    No, this isn't the Samuel Jackson shark movie. I wish it were, but it's not. Each year I try to watch as many award nominated movies as possible, and this is a Golden Globe nominee for Rachel Weisz's performance. She plays a woman who is depressed after leaving her husband aft... read moreer an affair with a Royal Air Force Pilot(Tom Hiddleson) in 1950 England. I had never heard of this movie, so went and read the plot and thought "hmm, that could be interesting!" Well, I was way off. This movie is a pretty big bore, with a lot of artsy silent type shots while classical music plays. Weisz's is good, but to me her performance is lost in movie that is more concerned with being pretentious than entertaining. I can see how some people will like this, and those people usually have a vast difference in movie taste than me. So if you don't agree with my reviews, then check it out I'm sure you'll enjoy it a lot!
  • jjnxn
    November 8, 2012
    jjnxn
    Exceptional performance by Rachel Weisz but the film is heavy going.
  • fb619846742
    September 15, 2012
    fb619846742
    A well-made, involving drama concerning a troubled, younger wife (Rachel Weisz) of a wealthy judge (Simon Russell Beale) caught in a sexless marriage, who has an affair with a former Royal Air Force pilot (Tom Hiddleston), due to her desire to experience physical pleasure. What g... read moreives this film more weight than your typical affair story is Rachel Weisz's phenomenal performance, where you care about her character despite her obvious flaws. Really, this film is all about Weisz, who shines in the moment even when the pace of the film threatens on glacial speed. It is a short, emotional movie that does not overstay its welcome, and it explores all of the angles, including Weicz's elder husband who is civil and understanding, but obviously very hurt and distressed. A good film that should be seen.
  • axadntpron
    July 26, 2012
    axadntpron
    In the first few minutes of The Deep Blue Sea, we observe Hester Collyer (Rachel Weisz) as she gently prepares her fate. First jamming some fabric under the door to obstruct the airflow and then turning the gas on without the fire to relieve her lungs, she rests her head to die. ... read moreDrifting into a toxin-induced reverie, director Terence Davies introduces us to the cause of Hesterâ(TM)s woe, former RAF pilot Freddie Page (Tom Hiddleston).

    After cashing in on a deficient marriage to her husband Sir William Collyer, Hester finds herself in conflict with the pride of her betrothed and the sanctimonious gentility that continued to rule even amidst the wreckage of post-war England. Additionally, she must come to grips with the throes of passion that have seized the reigns of her heart and dramatically altered the course of her life. However, as her haughty mother-in-law disdainfully warns, Hester would be wise to beware of passion, as âit always leads to something ugly.â? Yet, while the path may be perilous, Hester is determined to live by her heart rather than the dictates of society.

    Adapted from Terrence Rattiganâ(TM)s 1952 play of the same name, Davies isnâ(TM)t concerned with how this love triangle will pan out, but rather with showing one womanâ(TM)s journey as she takes stock of her life. The most arduous task of all is to attempt to make sense of the misery that you have caused others. How you have reacted, and the choices you have made when it seemed as though you were caught between the devil and the deep blue sea. Davies, aided by a spectacular performance from Weisz, fastidiously captures this suffocating process.

    Trusting the material and his cast, Davies never once threatens to upstage his actors with overly conspicuous technical flourishes. Were he to try, I doubt that he could distract from the excellent performances. Tom Hiddleston is marvelous as the mercurial and often ill-tempered veteran. While I am sure that playing Loki in Marvelâ(TM)s mega-hits has helped to add some much-deserved 0â(TM)s to the balance in his checking account, it is roles such as these where Hiddleston excels. Also, as stated before and as pointed out by numerous other reviewers, Weisz will surely get some Oscar attention for her role.

    At its best, The Deep Blue Sea is an attempt to understand the human spirit and the seemingly irrational desires that drive it. While the task may be ultimately impossible, the results are outstanding.
  • fb576433743
    July 9, 2012
    fb576433743
    Heartfelt and sympathetic performances by the two leads make this a cut above your typical star-crossed tale; a more complex and problematic storyline also helps. Quite stylish and nicely put together, with some carefully placed period touches which add to the convincing atmosphe... read morere. May not go down as a "great" film but I found it eminently watchable; fine leading role for Tom Huddleston.
  • StarCrossedVoyager
    June 20, 2012
    StarCrossedVoyager
    An extremely involving and emotional story with brilliant performances from Weisz and Hiddleston but I truly feel it would be better in theatre. After watching I found out that it actually was originally a theatre play and wished I could have seen that too as the story deserves s... read moreo much better. The film is visually very beautiful and intriguing and I felt deeply for both characters. There are so many fine emotions on show here that it's impossible to not feel something. I have many questions about the style of the film and why certain shots were used but I think that is a positive rather than a negative. I'm not entirely sure what to say as this film deserves so much praise, yet I still feel a bit put out that it's a film and not a stage play.
  • SirPant
    April 11, 2012
    SirPant
    Terence Davies's version of The Deep Blue Sea is dreamy, blurred and woozy. It's almost like a theatrical daydream. I didn't dig it at first if I'm being honest but it really is a slow-burner and one I ended up loving. The story is tragic, melancholy and depressing - my kind of f... read moreilm but it does also have a lighter and beautiful side. The script is perfect. Some of the lines are are absolute gold "Love is wiping someone else's arse.." etc. The actors at first seemed unsuitable but towards the end I realised why they were cast, there was something unspecific about their performances that worked. What the hell am I going on about right? It's a strange one, hard to explain really but I would recommend.
  • mumby1988
    December 31, 2011
    mumby1988
    One of the hardest things to rationalise as a film reviewer is when a director you love suddenly gets it wrong. Reviewing the latest Michael Bay disaster, or Brett Ratner-driven slice of hackery, is pretty easy: simply string together four or five superlatives, add some moral out... read morerage and leave it to stew in its own juices. What's not so easy is trying to explain how Terence Davies has gone from something as inspired as Of Time and the City to such an abject failure in The Deep Blue Sea.

    Davies' output as a filmmaker has always been an acquired taste - which, in this context, is equally a loaded phrase and a straight-up compliment. Whether you like his back catalogue or not (and even he has mixed feelings), he has a distinctive voice and series of interests which set him apart from the mainstream. He has campaigned tirelessly for the promotion of British cinema, furiously refusing to accept the perceived dominance of Hollywood, both financially and artistically.

    You couldn't put the failure of Davies' latest film down to him being out of his depth. He has dabbled in period drama before, most prominently in The House of Mirth 11 years ago. But more than that, he has an intrinsic understanding of 1950s Britain, retaining both a childlike fondness of its cinema and a very real understanding of its social problems, which he experienced as a child. Davies has frequently described his father as "psychotic", and in Of Time and the City he painfully records both the realisation of his homosexuality and his disillusionment with religion.

    One thing that The Deep Blue Sea has clearly in its favour is the way it looks. Florian Hoffmeister's cinematography is lush, glossy and full of rich colours, which somewhat evokes the work of the late great Jack Cardiff. The period details are immaculate, whether it's the costumes the characters wear or the songs they sing in the pub. It's not, or at least it doesn't appear to be, a pretend version of 1950s Britain, either dreamt up by the tourist board or dropped in from Hollywood.

    Equally compelling is Davies' choice of music. His films have been described as having a "symphonic" quality, which goes back not just to 1950s melodrama but to the silent films which ultimately inspired them. In this case Davies turns to Samuel Barber, peppering many of Rachel Weisz's scenes with those long, elegiac strokes of the bow for which Barber was rightly famed. You won't find the now-clichéd Adagio for Strings sneaking in under the radar, but what there is works resoundingly well.

    But for all its lavish grandiosity, the big failing of The Deep Blue Sea is something so ironically simple: we just don't care about any of the people on screen. Whether because of the source material, the performances or Davies' approach to either, this is a damning indictment of Davies as a filmmaker. What has united all of his work in the past is an intrinsic connection to the characters - we can empathise with and understand them even in the most fantastical situations. This is the first film which Davies has made in which we have no connection to the characters at all, unless 'connection' can include emotions like contempt, anger and disdain.

    Part of the problem lies in the casting of Rachel Weisz. Davies said that she was the only person who could play Hester Collyer, and looking at her you can understand why. Weisz does have a kind of classical beauty which recalls Deborah Kerr, and she wears period costume very well. But while she may look the part, she fails completely on a dramatic level, leaving us annoyed by every word and action of hers on screen.

    When Weisz was performing in A Streetcar Named Desire, she gave an interview bemoaning the lack of dramatic filmmaking in Hollywood. She pointed to the paucity of adventurous drama in a time of obsession with genre, and in particular to a dearth of decent female leads. It's hard to argue against that, but someone urgently needs to tell her that 'drama' and 'moaning for two hours' are not the same thing. Hester does nothing but cry, moan, scream, smoke and stare mournfully into middle distance. Weisz is worse here than she is in The Lovely Bones, so much so that at times you wish her character would just get on with it and top herself.

    The male characters in the film fare no better. Simon Russell Beale is a very talented Shakespearean actor, and as with Weisz he looks the part as the elderly judge firmly in his mother's pocket. But he very quickly drifts into a stiff-upper-lip stereotype, as the film makes no effort to challenge our expectations of his occupation or social standing. Tom Hiddleston gets an equally duff hand, starting and ending as a caricature, namely the pilot who can't get over the war and return to a normal life.

    It would be tempting in light of this to put Davies in the same camp as Noah Baumbach. He is guilty of the same cardinal sin of The Squid and the Whale: giving us a film without any empathetic characters, let alone an interesting story. The difference is that Baumbach seems to have genuine contempt for his audience, branding them as philistines if they don't understand why it is engaging to watch over-privileged pseudo-intellectuals whinging about their massive houses and expensive educations. Davies shows no such contempt: he has just mis-steped in such a dramatic way that this would appear to be the case.

    One could argue that the failure of The Deep Blue Sea is a failure of the source material rather than its cinematic execution. Terence Rattigan's later work, written after the Second World War, is by and large dated and uninteresting. Early-1950s theatre was an empty and nostalgic celebration of pre-war life, with plays which seemed to lack any bearing on or interest in reality. The Deep Blue Sea is no exception, and its celebration of the British stiff-upper-lip feels horribly stale in 2011.

    While all of this is true, however, the responsibility of making a film work ultimately lies with its director. There have been many filmmakers which have taken average scripts and acquitted themselves perfectly well: either of John Hillcoat's films are reasonable examples. But Davies makes the fatal error of assuming that we should care or be interested, rather than giving us any reason to of its own accord. He plays everything so straight that there is no way in for a modern audience, for whom the wartime attitudes seem at best admirably outdated and at worst totally absurd.

    The big dramatic problem with The Deep Blue Sea lies in Hester's frustration or repression - something Weisz would know all about from A Streetcar Named Desire. If you're going to show repression, there has to be a pay-off or some form of character development to make all this pressure worthwhile, whether it's a happy ending or a lonely suicide. But this moment never arrives; the central relationship is tedious, unbelievable, and goes absolutely nowhere.

    The Deep Blue Sea reminds us of two great periods of British filmmaking. Firstly, it recalls the great work of Powell and Pressburger in the 1940s and early-1950s, as they grabbed the conventions of melodrama by the scruff of the neck and produced works of profundity, nuance and visual splendour. And secondly, it reminds us just how important the British New Wave was in eroding these conventions, removing the veils of ignorance, escapism and denial which blighted so much of 1950s cinema.

    The Deep Blue Sea is caught between the devil and its title, lacking the brilliance of the former and the relevance of the latter. You sit there amongst the tedious story and annoying characters, yearning for Malcolm McDowell to burst in brandishing a machine gun and inform the characters that the world they knew and fought for is long gone. Only time will tell how damaging this will prove to Davies' craft as a filmmaker. It is at very best an admirable failure, being a beautifully shot folly for an audience that no longer exists.
  • gator681
    March 25, 2012
    gator681
    "The Deep Blue Sea" starts with the ticking of a clock in 1950 London, followed by Hester(Rachel Weisz) writing a letter to her lover Freddie(Tom Hiddleston) telling him that she is very serious about committing suicide this time. Her troubles can be traced to the beginnings of ... read moretheir surreptitious affair. At least it was until she and her husband, Sir William Collyer(Simon Russell Beale), visited his mother(Barbara Jefford), where she makes an indiscrete phone call. In response, he says that he will not grant her a divorce and make her life as hard as possible.

    At first, I thought I had mistakenly wandered into a Terrence Malick movie by mistake(my worst nightmare, right now) with the florid use of classical music, minimal dialogue and a non-stop movement through time. With a slap that brings Hester back into the waking world, it also brings the viewer out of his daze. Thankfully, writer-director Terence Davies was only interested in using this technique for a dreamlike recreation of Hester's memories. Otherwise, he seemed to not only want to make a movie about post war England where open secrets exist behind closed doors, but also a movie that, except for the sexual frankness, feels like it could have been made then, too, hermetically sealing it against the present. As symbolized by the stunning final image and the exquisite period detail, the characters are not able to escape the war, which despite the horrors, was when they were the most alive, with the class lines blurring which complicates things immensely when things return to normal. Even then, it seems Hester has more in common with her older husband than her younger lover. Sadly, the nonsequential story structure prevents more character depth(the movie's action is I think set over a period of two days), and conceals a better movie waiting to get out.
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