Deep End

Vividly shot on location, this is a fantastically alive film, springing nervously and excitedly around the most immediate of instinctual feelings. Managing with precision to communicate the sensory effect of these emotions, Deep End is almost a primal film, and is told largely from the perspective of its lead male character, mirroring his understanding of the world as one of absolutes and intensities. Snappily edited and perceptively performed, this is an indelible experience.

Deep End is a practically unheard of film these days - but it's a surprisingly good one that urgently needs a bigger audience. The film is basically a coming of age story involving young love and teenage angst. Despite the fact that everything in this film has been seen before in other films, it all comes together well and doesn't feel like it's just rethreading old ground, which is very much to it's credit. Writer-director Jerzy Skolimowski does a really good job of telling his story too, which means that deep End is an easy film to get along with. The title refers to the film's central location - a swimming pool. We focus on Mike, a young lad fresh out of school who has just got his first job as a pool attendant at the local bath house. On his first day, he meets the beautiful Susan and falls head over heels in love with her. Trouble is, Susan already has a fiancé and while she kind of likes Mike, she doesn't take him seriously...leading Mike to become frustrated and willing to do anything in order to have Susan all for himself.

The two central performers are really good and responsible for a lot of the film's success. Jane Asher is absolutely beautiful and it's easy to see why she'd have a young lad lusting after her. Horror fans will likely recognise John Moulder-Brown from classic horror The House That Screamed, as well as Hammer Horror Vampire Circus. He's good here too, and expertly captures the immaturely and lust of youth. The film itself is always interesting and the director keeps the central relationship at the forefront of the film, which helps to keep things interesting. The film is set in 1970's London, and the director does a good job of capturing the gritty feel of the city. A lot of the film takes place inside a swimming baths, but sequences that take place in sleazy corners of the city are among the best of the film. The director does have an eye for sleaze too - some of the bath house punters are rather shady characters, and we've also got scenes set inside a prostitute's room and an adult movie theatre. The ending is iconic and memorable, and manages to tie up all the film's central themes. Overall, this really is a very good film that more people need to see!

A teenage boy's first job is as an attendant who brings towels and other items to an odd clientele at a public bath house that is equipped with what appears to be an olympic sized swimming pool. He immediately falls for his co-worker, a young woman in her twenties, who leads him on a bit out of fun, and even has some sexual interest in him as we see in one scene when she spies him putting his pants on. While she remains detached he goes from infatuation to obsession, following her and her fiancé around town after hours. However the more important action occurs in the bathhouse which looks run-down and is photographed in its drabby and richly dark colors. The place itself is as as much importance as are the two main characters, the boy who is coming of age and the object of his obsession, his pretty young co-worker. In an ideal setting things would have been different, but here the decrepit bathhouse seems to influence the events in a darker and mildly disturbing way. Within it occurs the film's climax, in the pool, with the two of them, his obsession,and her sexy acquiesence, leading to the ending that makes this a movie that you may not always think about, but probably won't forget.

Fifteen-year-old Mike (John Moulder-Brown) has just left school and starts a new job as a Public Baths attendant, under the wing of Susan (Jane Asher) - a streetwise twenty-something female attendant. Susan knows how to please the clients and advises Mike accordingly. A typical encounter is when he substitutes for Susan in tending to a female client (Diana Dors) who forces her attentions upon him. He quickly develops a crush on Susan that soon becomes an obsession as he stalks her around town. Jealous of anyone else who gives her attention, he is particularly incensed at her casual affair with his former sports teacher. In an attempt to promote himself, Mike hijacks a school cross-country run in the park. Observed by Susan, they engage in a playful tussle where she loses the diamond from her engagement ring in the snow. Gathering the snow, they return to the empty baths to find the diamond by melting the snow. In an unguarded moment, Mike attempts to seduce Susan but cannot follow through. His jealousy and exclusive desire reaches new proportions...

What starts out as a tender coming-of-age story devolves into a story of sexual obsession and missed connections in "Deep End." The story has bicycle riding teenager Mike starting his first job at a run-down public bathhouse which caters to both men and women. There is also an Olympic sized pool in the facility, which is utilized by scores of teenage girls. Mike's pretty but jaded coworker Susan is on hand to show him the ropes, and soon their mild flirtation begins to prompt Mike into increasingly bizarre stalker behavior.

The cinematography here is outstanding, with every stain, crack and spot of dirt in the grimy bathhouse evident. It certainly appears to be a place where any sensible person would hesitate to walk barefoot through, and the sets are loaded with strange signage and bizarre props. The exterior locations are expertly filmed also, and give a great impression of the U.K. at the end of the 1960's.

The acting of the two young leads is top-notch and utterly believable at all turns, with John Moulder-Brown especially likable and appealing. And certainly special mention must be made to former glamor girl Diana Dors as a blowzy blond bathhouse patron with a sexual fixation on football. She holds nothing back in her cameo appearance, and she's fantastic in the limited screen time devoted to her physically aggressive and domineering character.

Some objection could be made to the somewhat speedy manner in which Mike's character transforms from nice teenager into obsessed stalker. Some of this didn't seem too believable, although Asher as Susan is beautiful enough to almost make it work. Mike begins the film as such a sweet young guy who's concerned about his future and his family, that's it's almost unfathomable as to why he'd go off the "deep end" like he does.

*** out of *****