Daily Archives: January 2, 2012

Deep End (1970)


By Richard Winters

My Rating: 7 out of 10

4-Word Review: He will have her.

This is a moody drama detailing the story of a 15 year old boy named Mike (John Moulder-Brown) who goes to work at a public bath in London.  There he meets an alluring red-headed woman named Sue (Jane Asher).  She begins flirting with him, which causes him to become infatuated with her.  He starts following her around and even tries to scare off her two boyfriends as she is seeing both a man her own age as well as an older, married one.  Sue, who seems to enjoy manipulating all the men in her life, treats it all like it’s a silly game that ultimately ends with tragic results.

One of the things that really helps this film stand-out is the believability of the Mike character.  It was fascinating seeing all the different sides to his personality and I felt each one rang true for a boy his age.  There are times when he seems streetwise and even savvy and then there are other moments when he is immature, irresponsible, and emotionally out-of-control.  Although his obsession with Sue borders on being frightening I did like how he comes up with clever ways to help her like the ingenious way he finds her diamond that fell from her ring and into the snow.  I also liked how he becomes shocked at seeing a semi-nude poster of Sue outside a club, as she works as a stripper part-time, and how he steals it away in order to ‘protect her honor’.

Sue on the other hand seems almost all bad with very little good traits, but still equally believable.  She is mean and catty with everyone, abuses animals, and comes up emotionally hollow at every turn.  However, I could see how a young man of his age could become trapped by her seductive ways and perceived ‘maturity’, which makes the obsession itself as intriguing as their personalities.

Acclaimed writer/director Jerzy Skolimowski seems very much in control here and what buttons to press and when to do it.  I liked the color schemes especially his use of the color red. Having Cat Stevens do the music score gives the soundtrack and nice distinction.  I also liked how he foreshadows the film’s final shot several times during the movie.

I did end up having a few qualms with the film.  I wanted Mike’s initial interactions with Sue to be a little more extended than just the brief flirting that is shown.  The film takes place in buildings that are all old, rundown, and murky, which in some ways is good because it helps reflect the murky personalities of the characters.  Yet I wasn’t sure if this was all intentional or just the result of working on a low budget.  I would have liked a few scenes done against a more appealing background just to allow for  more visual variety.

The ending, especially the final shot, is very provocative and perverse.  It reminded me in a way of Nicholas Roeg’s excellent film Bad Timing: A Sensual Obsession (1980). Everything gets played out in such an odd way that it keeps you guessing until the final second as to what happens, which ends up staying with you long after the film is over.

Diana Dors, who was a popular British actress during the 50’s and 60’s and even considered a sex symbol for a time, gets a great cameo bit here that has to be seen to really be appreciated.  She plays a sexually frustrated middle-aged woman who rents a room at the public bath and then tricks Mike into coming into the room with her. She grabs his hair and shakes his head while describing a sexual fantasy that she has going on in her head.  When she is done she throws him back to the floor and says “You can go now, I don’t need you anymore.”

My Rating: 7 out of 10

Released: September 1, 1970

Runtime: 1Hour 33Minutes

Rated R (Sexual Situations, Adult Theme, Brief Nudity)

Director: Jerzy Skolimowski

Studio: Paramount

Available: DVD, Blu-ray (Import)

Dirty Mary Crazy Larry (1974)


By Richard Winters

My Rating: 5 out of 10

4-Word Review: Fast cars fast women.

During the 70’s car chase movies were all the rage.  Smoky and the Bandit, Convoy, Vanishing Point, and Two-Lane Blacktop were just a few.  Most of these films followed the comedy adventure blueprint closely resembling the politics of the time where the police were the befuddled authority figures and those being chased symbolized the downtrodden masses looking to break free from the values and customs of yesteryear and find their own identities. Dirty Mary Crazy Larry is pretty much the same as the rest with a few notable exceptions the biggest being its very downbeat ending, which was quite talked about at the time of its release and one of the main reasons this film continues to have a strong cult following today.

The story is based on the novel by Richard Unekis called The Chase. It involves an out of work race car driver named Larry and his mechanic (Peter Fonda, Adam Roarke) who decide to rob a grocery store to make ends meet. Much to their dismay they are accompanied by a hooker named Mary (Susan George) and the three spend the rest of the film riding in Larry’s Dodge Charger with a powerful V-8 engine and avoiding the relentless pursuit of the police.

The screenplay follows the book pretty closely, but does make a few ill-advised changes. One is that in the book the two leads characters were career criminals who robbed for a living. I thought this made more sense and gave the characters a little more grounding.  I didn’t understand why a race car driver and his mechanic would suddenly be pushed to robbery, or what lead them into their fix. The robbery is executed in much too sophisticated a way for a pair of novices as they kidnap the store manager’s wife and daughter and then threaten to harm them unless the manager opens up the store’s safe. They also rig his home phone up to a tape recorder device so every time he calls home he hears the voice of the two and thinks they are still there even though they had already hit the road.  Criminals who had done this all their lives would be brazen enough not only to come up with this idea, but to also pull it off.  People with no background in robbery most likely would not.  There is also no explanation as to why they chose this store and how they planned the whole thing out, which would have helped.

Another change that was made was the addition of the Mary character.  In the book it was just the two men, which made it more gritty.  Although easy on the eyes the character serves no fundamental purpose to the story line.  All she does is have very redundant arguments with Larry that quickly become tiring.  I began to realize that these shouting matches were put in solely as filler material and it ends up getting inane.

Although I have like Peter Fonda in other films, most notably Easy Rider, I did not feel his laid back persona fit this part.  Larry is indeed a potentially interesting character as it is a person who can only find solace when he is taking extreme risks and driving real fast, but Fonda seemed unable to bring out this edginess effectively and his incessant gum chewing ends up becoming real annoying.

Vic Morrow probably gives the film’s best performance as the sheriff.  Normally the police are portrayed as bumbling idiots in this type of genre, but here they were a little more human and I liked the way that he was a bit of a non-conformist himself in the relentless way  he pursued the trio.

I also liked the attempt by the film makers to put in more realistic elements to a car chase that is never shown in most movies. One particular scene involves a pick-up truck that has nothing to do with the chase pulling out and getting side-swiped by Larry’s car.  For a minute the film becomes somber as they think they may have killed the other driver, which is good. Too many chase films always show other drivers and pedestrians miraculously getting out of the way and never being hit or injured even though in reality a lot of them probably would. The subject of seat belts also comes up, which is another pet peeve that I have with these films.  The occupants of these cars are never shown wearing them and with the stunts that they do they would all end up injured and killed without them.  They don’t wear them here either, but at least Larry does mention to Mary that she should put one on and there is also an amusing scene where a big yellow billboard stating ‘There is only one word for people that don’t wear seatbelts…STUPID’ which is shown briefly just before one of the out-of-control police cars goes careening through it.

Of course the best thing about the film and the one thing that has made this film so famous is the notorious ending, which is a downer for sure. If you consider this a spoiler then please don’t read any further, but the truth is when I first saw this film many years ago I already knew it was going to have a downbeat ending, but it kept me more intrigued because I didn’t know how it would happen.  Unless you count the film’s opening shot there is no foreshadowing of it and it happens very suddenly where the victims end up not knowing what hit them, which is also realistic.  Personally I loved it and most other viewers seem to also.  Too many chase movies have the good guys being able to escape one close call after another when in reality the odds will catch up with you sooner or later and with this film that is what happens, which in some ways can be considered ‘refreshing’. The scene is captured well and features one of the best explosions I have seen and without any of that tacky computerized special effects. I also liked the way the film ends very abruptly after it happens without any denouncement.

Normally I argue against Hollywood remakes, but this is one instance where it would be a good thing.  One of the main problems here is the film’s low-budget.  Although I felt they captured the central California countryside nicely (it was filmed in and around Stockton) the indoor sets are quite bland and dull. A bigger budget, tighter script, and some flashy camera work could work wonders here.  Too many times Hollywood seems driven to remake films that were already good the first time and only ends up tarnishing the original instead of remaking films that didn’t quite work on the first run and trying to make them better.

My Rating: 5 out of 10

Released: May 17, 1974

Runtime: 1Hour 33Minutes

Rated PG

Director: John Hough

Studio: 20th Century Fox

Available: VHS, DVD, Amazon Instant Video