The Deep Blue Sea (Terence Davies)

[B-side]

IMDb (http://www.imdb.com/title/tt1700844/)

http://i814.photobucket.com/albums/zz70/SalvadorDali_2010/Miscellaneous/The-Deep-Blue-Sea-Poster-1.jpg

My review here (http://reeltimepodcast.org/2012/02/03/the-deep-blue-sea-terence-davies-2011/).

[NickGlass]

Gah, I had to miss this in Toronto because a friend bought tickets to Solondz's new film, Dark Horse (which is...not very good).

This releases in March, right? I'm very, very excited.

[B-side]

This releases in March, right? I'm very, very excited.

March 30th in limited release, yup.

[Bosco B Thug]

Maybe not a 5-star film, but close, and it might be awhile until I see another 2012 film I like as much.

It's ridiculously clear this is adapted from a written-circa-1920's play, and that's one reason I loved it. The thematic story is a bit passé, the female character shoveled onto with typically-male attributes of psychology done before with less wishy-washy, more pragmatic purposes (see The Piano), but this is still a stunning picture. 2nd Davies.

[Robby P]

It would be hilarious if a large number of people got suckered into a Terrence Davies movie because they were expecting a sequel to Deep Blue Sea.

I can see the imdb reviews now.

[number8]

It's for that reason that I think Davies should have cast LL Cool J in the Hiddleston role.

[megladon8]

I want to see this to oggle Weisz.

She's still one of the most beautiful women in the world to me.

[Pop Trash]

I want to see this to oggle Weisz.

She's still one of the most beautiful women in the world to me.

True story. I'm still waiting for the erotic lesbian film with her and Juliette Binoche.

[Raiders]

Films by Davies and Stillman released at the same time? Hello 1990s.

[NickGlass]

Films by Davies and Stillman released at the same time? Hello 1990s.

I was too young during the first go around of Stillman and Davies theatrical releases, so I'm absurdly happy with an art-house 90s auteur revival. Damsels is good and totally Stillman-esque (natch); I'm seeing the new Davies within a week, and have high hopes (but I did get to see The Long Day Closes on the big screen last week, which was a glorious experience).

[Boner M]

I dunno, Davies was equally prolific in the 80's and 00's (ie, two features each decade).

Should be seeing this on the weekend.

[Raiders]

I dunno, Davies was equally prolific in the 80's and 00's (ie, two features each decade).

Well, one in the 80s, two in the 90s and one in 2000. But, I was referring more to the idea that after over a decade it is funny they both have new films out (Davies little one-off documentary doesn't count) at the same time.

[Boner M]

Well, one in the 80s
You're forgeting 1983's The Terence Davies Trilogy*; only one film was conceived as a standalone short (1976's Children), after the other two were made he turned it into a feature-length triptych.

*EDIT: which remains the most ballsy title for a debut feature ever.

[Raiders]

You're forgeting 1983's The Terence Davies Trilogy; only one film was conceived as a standalone short (1976's Children), the other two were made for the purpose of a feature-length triptych.

I wasn't forgetting, I just wasn't including the shorts, regardless of their purpose. You are making my throwaway comment about it being weird to see both directors in the theater at the same time much more intricate than it was intended.

[Boner M]

OK nevermind.

http://i2.listal.com/image/290792/600full-rachel-weisz.jpg

[Raiders]

Yeah... what were we talking about?

[dreamdead]

I'm confused. Are we just posting images of Weisz, or are these images from an actual film?

I like the idea of filming a very retro play, btw. I'd like to see this kind of incongruity explored more by filmmakers.

[Pop Trash]

I'm confused. Are we just posting images of Weisz, or are these images from an actual film?


If that is from a film, I need to see said film PRONTO.

[Boner M]

Not from any film I know of; was just trying to steer the conversation back to Weisz hawtness as opposed to splitting hairs re: Davies' filmography because who gives a shit.

[Boner M]

Another fine Davies film, albeit there's something holding it back from being among his top tier. I do like how well the theatrical dramaturgy and acting style mesh together, combining together with the gauzy cinematography to render emotions as they're remembered rather than lived, but I still found Hester to be too remote a character even though Weisz is excellent in the role.

That said, the slow backwards track through the train tunnel populated with Londoners taking shelter from the bombs above, united in singalong, finally arriving on Weisz and her husband embracing... a shot that'll haunt me for a long time.

[B-side]

That said, the slow backwards track through the train tunnel populated with Londoners taking shelter from the bombs above, united in singalong, finally arriving on Weisz and her husband embracing... a shot that'll haunt me for a long time.

Shot of the year. I mentioned it in my review you didn't read.:lol:

[Melville]

I do like how well the theatrical dramaturgy and acting style mesh together, combining together with the gauzy cinematography to render emotions as they're remembered rather than lived
Curious what you mean by this.

Great movie. I wasn't so keen on the musical score, which was a bit sappy and overbearing, but everything else worked very well to bring out the choked emotion of the story. All the characters' feelings were palpable to me. I especially liked the group singing scenes—the feeling of community they evoke nicely accent how distanced from society Weisz is due to her obsessive love.

[DavidSeven]

Didn't connect too much with this one. There's stuff to appreciate: the texture, consistant control of tone and Weisz, generally. The tunnel shot is indeed a knockout. But I can't help but feel there's a lack of the complexity and depth necessary to make this a really dynamic experience. It didn't really strike me as being earth-shakingly honest either. A mild nay.

[baby doll]

Another fine Davies film, albeit there's something holding it back from being among his top tier. I do like how well the theatrical dramaturgy and acting style mesh together, combining together with the gauzy cinematography to render emotions as they're remembered rather than lived, but I still found Hester to be too remote a character even though Weisz is excellent in the role.

That said, the slow backwards track through the train tunnel populated with Londoners taking shelter from the bombs above, united in singalong, finally arriving on Weisz and her husband embracing... a shot that'll haunt me for a long time.Why do you think she needed to be less remote? And if you say you wanted a more "relatable" protagonist, I'll eat your brains.

[Rowland]

The first 11 minutes of this comprise one of the year's finest stretches of cinema, so it's a shame that this sequence is shortly followed by the lamest scenes in the film (those involving Mummy), after which it never quite recovers the transcendence of those early moments. And while I never felt the tragedy as viscerally as many of the film's biggest proponents have, I found its melodrama finely written and performed, with Beale in particular achieving an impressive rehabilitation from the momma's boy characterization that is initially saddled upon him. The look and texture of the film are ravishing as well, if not always as dynamic in terms of mise-en-scène as even a lesser film such as Polanski's Carnage recently proved is possible with such obviously stage-sourced material.

[Kurosawa Fan]

Liked this, but agree that it's flawed. Completely agree with Rowland in regards to the first 11 minutes followed up by that atrocious scene(s) with Mummy (a shred of subtlety would have been nice). What a misstep. I do think it recovers though, and I like that the film seems to progress as an examination of the ways in which the scars our parents inflict upon us dictate our actions in the future. This is true of both Hester and William. For Hester, she simultaneously can't shed the conservative way in which she was raised (evidenced by her reaction to Freddie's joke in the museum, and her discomfort during the pub songs), and yet rejects the "sanctimonious" and passionless way in which her father approached love and lust, which pushed her into her affair with Freddie in the first place. For William, it's attempting to find passion for Hester, something he makes progress with, but can't completely overcome (even in his desperation outside of her apartment, as he retracts from her kiss). For Freddie, it's a bit of a twist in that it's the war he can't overcome, however it's still something brought on by the generation before him but fought by young men his age. Loved that final shot of the children playing outside of the bombed buildings.

The film was beautifully shot and well acted, but I wish the fragmented fever dream style established in that first 11 minutes had continued through the entire running time rather than coming and going as it did.

[Raiders]

The first 11 minutes of this comprise one of the year's finest stretches of cinema, so it's a shame that this sequence is shortly followed by the lamest scenes in the film (those involving Mummy), after which it never quite recovers the transcendence of those early moments. And while I never felt the tragedy as viscerally as many of the film's biggest proponents have, I found its melodrama finely written and performed, with Beale in particular achieving an impressive rehabilitation from the momma's boy characterization that is initially saddled upon him. The look and texture of the film are ravishing as well, if not always as dynamic in terms of mise-en-scène as even a lesser film such as Polanski's Carnage recently proved is possible with such obviously stage-sourced material.

You found Polanski's film to have dynamic mise-en-scene compared to this film? Really???

[Lucky]

This is the third time I've written this in a week, but I agree completely with Rowland (and KFan). Had the film maintained its operatic flow the first ten minutes had, it would have soared to the top of my favorites for the year. Barber's violin concerto is exquisite and paired well with the film's hazy, dreamlike aesthetic. It reminded me of Melancholia's lush prologue. Match-Cut definitely missed on Weisz, but the cinematography nod is well-deserved.

[Rowland]

This is the third time I've written this in a week, but I agree completely with Rowland (and KFan). :pritch: