The Deep Blue Sea

I don't get this remake. Where are all the sharks?!

Beautifully rendered by Davies and his cast, this tragic tale of misdirected love succeeds especially because of its exquisite writing. The best scenes involve Weisz and Beale, whose careful, (re)strained relationship elicits an aching beauty. The film is a bit uneven when it involves Hiddleston, but still largely succeeds due to the careful observation and humanistic perspective that characterizes the direction. There are no easy answers or villains here--just the difficulties of life and love.

Superbly lush adaptation of Terence Rattigan's play about the repressed Hester (Rachel Weisz) and her troubled affair with the cavalier Freddy (Tom Hiddleston) in post-WW2 England. Director/writer Terence Davies brings the stifling society of the era to powerful life with beautiful cinematography and a perfect cast: Weisz's frustration and Hiddleston's cruelty (one line in particular is astounding) devastate, as does Simon Russell Beale as Hester's painfully buttoned-down husband. A must-see.

The most straight-forward and accessible Davies work i have seen, but he still manages to make it feel very much of a piece with the rest of his oeuvre (even down to the singing!). Consequentially it may be his most immediately emotionally engaging film, but is also ultimately a fairly unadulterated theatrical melodrama.

Tough for me to enjoy. Like other Terence Davies films it's so much a mood piece about capturing the essence of a place and time in history, that narratively it seems barren and the characters are mad, illogical, unrefined sketches. The pacing is at odds with the scenes of dramatic conflict and it's clear that much more love has gone into dressing, lighting and photographing the sets than script polishing or acting rehearsals. It's an art piece but as narrative cinema it falls completely flat.

Weisz delivers an absolutely agonizing performance that shows some of the most believable vulnerability I've ever seen. The emotional frustration kept me from loving it, but the wonderful cast and brown hues are something special. LL does not battle sharks, however.

Lyrical, intelligent and intoxicating film about the romantic longing. Very well acted and exquisitely stylized, it manages to transform a somewhat stagey story into a richly cinematic experience that also deals with human memory & atmosphere in postwar Britain. In the end everything in it is well worn and somewhat unremarkable but if you're in the right mood, it offers some intense melancholic romance.

"Its director's romantic sensibilities wed to Terrence Rattigan's 60-year-old play, this period drama is buoyed by Rachel Weisz's poignant embodiment of a bourgeois wife seeking erotic autonomy." - Bill Weber

Not only does it generate a fantastic period feel, its notion of repressed desires and passionate longing isn't bound by the constraints of its period or the characteristics of its genre. Davies keeps a firm hand on the tiller, notably in the realization Hester eventually comes; None can offer what she longs for but it's no one's fault really. Some neat tracking shots and something about an echoed Molly Malone amid London's underground filled my heart with irrepressible warmth.

Strong affectations in design, performance, and sound conjure up the past, or rather the exaggerated senses by which one recalls the past. Davies is always devoted more to the tenor of a narrative rather than its conventional development. It's a philosophy I like, and this film crushes me.

You know the part in Eddie Izzard's Dress to Kill where he's talking about the difference between American and British films? The entire time I was watching this, I was expecting someone to start arranging matches and address a character with, "what is it Sebastian?" This isn't to say American films are better -- I like American films for action and English films for drama -- but this just didn't work for me. I didn't hate it; I just didn't really like it.

I have to concede that it is a bit boring at times, but Rachel Weisz's performance ranks among the best of the year and it looks stunning throughout.

1

Rachel Weisz gives what is arguably her best performance to date in this exquisite drama about obsessive love and its perils.

(Viewed on 05/04/14): A typically gorgeous and melancholy reflection on time and memory by Davies that's also about desire and repression. Weisz gives a surprisingly sensual and sympathetic turn as a woman who trades financial security for sexual pleasure and pays a personal price. Davies paints a rather gloomy and atmospheric portrait of post-war England that traps his characters in the frame like faded old photographs, but it's too dramatically conventional to praise unreservedly.

Gorgeous to look at and some great performances by Weisz and Hiddleston.

her zamanki bilindik hikaye. kati mizacli, anti romantik biraz yasli yargic ile evlenen hatun; asker havali, romantik yakisikli gence asik oluyor. filmin odak noktasi asiri ask tutkusunun getirdigi yan etkileri islemesi.

woman kills herself for men?

I have very little sympathy for these cruel and foolish people. Maybe passion was hard to come by in post-war London, and the well-meaning conservative advice from the elders thus easier to ignore, but for heartache, I'd still recommend taking the proverbial long walk in the park, and then getting back to work. Maybe watch a movie.

Amor Profundo estreava há 10 anos no Festival de Toronto. Com Terence Davies nunca tem erro. Quem mais tem esse traquejo em mostrar um relacionamento destrutivo de forma madura assim? Blu-ray Imagem Filmes.

I hate rating anything with Weisz or Hiddleston poorly but this was so terrible I gave up trying to watch it. I didn't even care to fast forward just to see what happened. I have no time or pity for manipulative obsessive melodrama of this sort.

It's undeniably stuffy, and comes across a bit one-dimensional and wooden. The two leads do well and overall create a believable sense of love being found and lost and found, which other films tend to screw up most of the time. Great cinematography that somehow evokes this time period.

Weisz was a talented beauty to behold, but this production by Davies was a bit to thin to leave me satisfied.

Mesmerising, hypnotic, infuriating. Absurd ending though, almost comical

terence davies views the past through glasses forged in amber and, he might suggest, ocean blue.

There is so much to be said about this...but I shan't say it. Suffice to say, any film this beautiful with Simon Russell Beale and Ann Mitchell in it is worthy of your consideration!

A tragic romance in the Anna Karenina vein, not to be confused with that one with the sharks. Not very memorable, but still moving and beautifully dreamy to look at.

Beautiful cinematography creates a time, place and mood, but the characters are a little unlovable and it has all the features of a stage play.

One of the most tedious films I've ever watched - each scene is excruciatingly drawn out, all while saying nothing with bland and generic writing. The plot is uninteresting, and we dive straight into the meat of it before there is ever a chance to learn about the characters.

Really quite beautifully understated and well-acted. Still, something about this really rubbed me the wrong way at the time, but I don't recall what.

The talent is obvious, but not nearly as is the film itself, with its soft focus lighting, frequent use of the word 'uncouth', and enough tears to drown a city. If nothing else, they picked an excellent title, which means of course that it's probably exactly what you expect. Overall, it's never quite captivating. The script attempts to make up for the lack of psychological depth by relying upon overblown, simplistic emotionality.

England's greatest living film-maker, Terence Davies, directs a stunning Rachel Weisz in a classic script that's both a sentimental and ruthless not-quite requited love story. The graceful camera movements, the exquisite shot compositions, the perfect, as always, soundtrack, all contribute to an emotionally immersive experience. One of the best of the year.

1074: don't like it!

From the very first sequence -- a silent and melancholic examination of a woman and her catalogue of memories -- I felt completely attracted and mesmerized to Davies' sense of turning highly emotional situations into scenes immersed in bleakness, quiet despair and overwhelming (but mute) tragedy. It's also an interesting take on sexuality -- she falls not for the men who provides for her, but for the one who gives her pleasure -- and post-War ruptures with the past.

I'm not a pensioner, or a fan of melodrama, so this had a hard job to win me over. Nevertheless, I can really appreciate the old-fashioned artistry with which it was made - the art design is great (so brown!), and there are some wonderful, floating tracking shots. And Weisz is luminous, as usual.

Music provides a certain color to this movie, especially in a scene at a subway where it appears Hester might try to take her own life again, but instead, it flashes back to civilians hiding out down there during the Blitz, forlornly singing "Molly Malone" in an impressive long-take tracking shot, facing as uncertain a future as Hester does currently.

Over my head.

Chilling almost to the point of boredom. Might have made a good short, but Davies draws out 15 scenes with excruciating pauses. I'd be interested in the Vivian Leigh version from 1955, but maybe it's Rattigan's material that's not so good.