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This love-triangle plot may be pure melodrama (a genre classification I use without scorn), but The Deep Blue Sea is one of those films that’s about more than its central story-moving and beautifully acted though that story is. Though playwright Rattigan, who was gay, originally intended the drama in part as a commentary on the misery of life in the closet, Davies makes it work equally well as a feminist parable: Given the narrowness of her life choices, jettisoning a respectable marriage for the man who keeps her in sexual thrall may be the closest thing to freedom Hester’s ever experienced. Yet she clings with fierce pride to the absoluteness of her love for him, even when her husband, witnessing the state that Freddie has reduced her to, makes gestures toward getting her back. He’s also the world’s cheapest sugar daddy, barely providing Hester with enough to keep the landlady at bay and lamely offering instead that she hock his golf clubs for cash. Freddie, it soon turns out, is an inconstant, heartless cad who doesn’t even bother to show up for his mistress’s birthday and coldly rejects her when she seeks him out among friends at the pub. This is a woman-who-loved-too-much story in the tradition of Madame Bovary or Visconti’s Senso or Truffaut’s The Story of Adele H.: a study in female masochism that shows how romantic obsession, taken to an extreme, can provide its own sick brand of feminine empowerment. That’s Davies’ point, I think, in beginning with that daringly operatic opening montage: The Deep Blue Sea is, in part at least, about the humiliating gulf that often separates our love objects and our estimation of our love objects. (I’m thinking of the serene brain-tumor victim she played in 2006’s The Fountain, the noble Egyptian mathematician from last year’s Agora, or the plucky geneticist in the The Bourne Legacy.)
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She acquits herself impeccably in every role, but in the past there’s been a sort of crisp ti diness to Weisz’s performances, or perhaps just the characters she chooses to play, who are often admirable, meaning that we never have to struggle to like them. Weisz is an actress who, despite her extraordinary beauty (seriously, is there a bad camera angle on Rachel Weisz?), has never held the screen for me.
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Or maybe I let The Deep Blue Sea slide by because the prospect of a romantic period drama starring Rachel Weisz as a tormented adulteress just sounded dull. I think I skipped The Deep Blue Sea at the time because Davies’ last literary adaptation, The House of Mirth (2000), had struck me as airless and vague, with Gillian Anderson, the stolid skeptic of The X-Files, fatally miscast as the doomed social butterfly Lily Bart. The answer of course is simple: As a critic, movies are always coming at you thick and fast, and you have to make choices about what’s worth seeing and writing about. I'll save you some time and leave a link to the hilarious clip here.How did I miss The Deep Blue Sea, Terence Davies’ meditative, dreamlike adaptation of Terence Rattigan’s 1955 play about unrequited love in postwar London, back when it came out last spring? And before we go, here's a little piece of trivia for all the Veronica Mars fans out there… Jason Dohring, who played Logan in all three of the original seasons, the movie, and the fourth season that premiered on Hulu in 2019, has a small cameo as one of Leo Biederman's classmates in Deep Impact. Well, those are just 12 members of the insanely stacked cast of the 1998 disaster film Deep Impact.
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Smith is currently featured on the NBC comedy Perfect Harmony, but there's no word as to whether the show will be picked up for a second season. Later that year, the former villain from Robocop would get the role of a lifetime as Red Forman on That '70s Show, which ran until 2006. Like pretty much everyone else not named Robert Duvall, Morgan Freeman, Elijah Wood, or Téa Leoni, Smith was relegated to small role in Deep Impact. And then there is Kurtwood Smith, who played NASA worker Otis "Mitch" Hefter in the 1998 planetary disaster movie.