The Deep Blue Sea

The deep Blue Sea

Neither you can give Everything you want

So I found The Deep Blue Sea, I’m surprised it took eighty-four minutes to say what could easily have been said in just fifteen or twenty. Adaptation of the play by Terence Rattigan, which tells the incredible story of a single woman who leaves behind a secure connection, but asexual for a passionate but reckless relationship. With regard nor can give you everything you want, you have to make a choice between continuing to live or die alone. Plot wise, there’s really nothing more than the film than that. I have not seen or read the original work, although it is based on what I’ve read about it, it seems that one of the characters, a former doctor, had a much more important than it was in the movie role. I can not help but wonder if its inclusion would have made the story seem more substantial and less drawn.

To be held in London just after World War II (one opening title card gives us the line of vague time “1950”), the central character is a woman named Hester Collyer (Rachel Weisz), whose history it is told as a flashback sequence combination and the present time, the latter occurs in about one day. At first he tried to commit suicide by swallowing several aspirins and leave your apartment flooded with gas fumes from the furnace. time was saved. Alone to think, we get an overview of the events leading to his attempt. She was married to a very respected former Supreme Court judge named William (Simon Russell Beale). Despite his wealth, status and good behavior, Hester fell in love with him for his lack of enthusiasm.

She an affair with a former RAF pilot apparently free spirit named Freddie Page (Tom Hiddleston) soon begins. Finally, it is physical passion, he desired. William soon succeeded, and although he raises his voice or hand to him, he declares that he would never grant a divorce. Hester moves into the apartment Freddie center, which is an obvious step down from the high-end luxury of the estate of William. What started as well between Hester and Freddie soon began to decline. Despite the physical care to give, it seems that he is capable of financial or emotional stability. He forgets important events such as the anniversary of Hester. It is not as educated as it is, a fact that is embarrassing. It also seems that was not very happy since the end of the war, and drinking excessively.

William reappears several times throughout the film. After the initial shock of learning of his case, he was much more willing to give him the divorce he wants. Still, it really is puzzled by her rejection of him. Maybe he was not inclined and physically Freddie, but not a genuine affection felt for Hester. Still he does. Why is it not enough for her? She tries to explain, but comes off as a little more excuse-making – which means she made everything much more complicated than it really is. This does not mean that emotions are not complicated, because they are very good, especially in matters of love. However, all conversations you have with William is an exercise in padded box. If it comes to trim fat and make your point, things would go much more smoothly.

Despite his verbal predilections, the film has some delightfully written passages. The best are reserved for two scenes between Hester and William puritanical mother (Barbara Jefford). I will not mention the specific lines, failing listening directly. Just know this: Mrs. Collyer said repeatedly, his prim and proper form, Hester does absolutely nothing right and is not good enough for her son. There is also a large stage with former doctor, whose name escapes me at the moment; when you tested in Hester after his suicide attempt, offering a Zinger William so exquisitely spiritual that could have easily quote Oscar Wilde.

Perhaps it is because of the innate simplicity of the story that speaks so fluently in the language of melodrama. One of the most notable elements is Samuel Barber “Violin Concerto, Op. 14” (the film contains no original music equipment). Here is a piece of music that oozes from every pore solemnity, which sounds more like the cry of tonal as an orchestral piece. solo sections long, slow vibrato reproduced at the upper end of the scale; which they are placed strategically, they are intended, obviously, to represent the emotional state of Hester. There is no rule that films like The Deep Blue Sea have to be complicated or layered to work. Anyway, the filmmakers should give more than one reason to see more than just a relationship problem easy to understand.

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