Deep End, an early gem from Jerzy Skolimowski newly added to the Criterion Channel
A first-watch uncovers a lost treasure perfect for a cold winter in January.
Over the holidays I took a break from the new release calendar and renewed my subscription to the Criterion Channel. I was excited by their feature collections and especially their January collections, which also includes a huge compliment of Sight and Sound’s 100 Greatest Films of All Time—including the buzzy new number one entrant: Chantal Ackerman’s Jeanne Dielman…. Along with the many new discoveries I’m making there, Deep End, a break-out feature from Polish auteur Jerzy Skolimowski, one of three of his now streaming, felt as if it was speaking directly to me.
Deep End is one of his early break out films shot in 1970, which just happens to be the year of my birth. It also felt like a serendipitous discovery leading up to this, the very week of my birth. Not only that, but it’s wintery setting aligns with my Capricorn persona: somewhat nihilistic and socially elusive. The fact that it centers around the angst of unrequited love from a introverted teenager, well, can you get any more Capricorn than that?
Skolimowski’s latest film “EO” is currently playing in art house cinemas to critical acclaim and is Poland’s entry for Best International Film at the 95th Academy Awards. In preparation for that one, I decided to check out this early film of his. In Deep End, the young director captures terrific chemistry between his actors presented against a brilliant art direction. It brings the feel of the early ‘70’s back to life with its authentic location photography—capturing all the beautiful messiness of the era. Hey, if it’s the sort of thing that led to me being born, well then I’m all for it. Thanks, mom!! I imagine you gave Jane Asher a run for her money back in the day.
Initial reception
The incredible thing is that during the more than five decades since its release, the film still feels remarkably fresh. With its playful energy, it’s accomplished the proverbial: capturing lightening in a bottle. Presented with a beautiful transfer it’s as vibrant as ever and contains a color palette any filmmaker would die for—including David Lynch, whom when interviewed by NME, in August of ‘82 about why he shot Dune ‘84 in color refers back to this film:
Black and white is an important part of your style, yet you’ve chosen to shoot Dune in colour. Why?
"I don’t like colour movies and I can hardly think about colour. It really cheapens things for me and there’s never been a colour movie I’ve freaked out over except one, this thing called Deep End, which had really great art direction. That to me is the whole thing.”
Early critical assessment of Jerzy Skolimowski’s break through art house feature pegged it as a Truffaut meets Polanski hybrid: imagine Stolen Kisses turning into Repulsion the Washington Post surmised in 1971. This assertion suggests the need for more viewing homework. However, Over on the Film Buffs blog—the assessment seems to correctly slide Skolimowski more solely over to the Eastern European aesthetic:
Polish Director Jerzy Skolimowski isn't exactly a household name, but during the '70s he wrote and directed two of the most accomplished English language films of a decade that had an embarrassment of cinematic gems. It's likely for this reason that his two masterpieces, Deep End from 1971 and The Shout from 1978, are rarely discussed. Neither are easily obtainable on video, but both were definitely worth the search. Skolimowski is probably closest in terms of style and mood to Polanski (Skolimowski cowrote Polanski's Knife in the Water, so they share some lineage too). Both directors share a sense of the macabre, a talent for black humour and their English language films have an outsider's feel – presumably because they were just that when they first broke out, Polanski in 1965 with Repulsion and Jerzy 6 years later with Deep End. —excepted from, “The Film Buff Blog,” 1.30.2010
What makes the film so good
What the young Polish filmmaker succeeded so well at, as the late ‘60’s morphed into the ‘70’s, (yes, while George was leaving John, Paul and Ringo—highly recommend Peter Jackson’s The Beatles: Get Back on Disney+; and my mom and dad were listening to Harrison’s Something off of Abbey Road on endless repeat on vinyl) was to facilitate performances that burst with life beyond the edges of the frame.
Encouraging the exceptionally focused John Moulder-Brown (Michael), only 16 at the time and the cunning Jane Asher (Susan) to push each others’ buttons results in their work feeling palpably alive. Watching it, I felt annoyed for Michael as he burns in frustration manipulated by the much wiser Susan. While at other times, I felt Susan’s shock when Michael carried things too far from youthful ignorance. In short, Skolimowski makes terrific use of his two actors whom he cast so exceptionally well. The film, like a living document, brings to life the freshness of their chemistry as if it were just yesterday.
The film, like a living document, brings to life the freshness of their chemistry as if it were just yesterday.
The story, also written by Skolimowski, mines the depth of Michael’s torment as he struggles to break-up Susan’s relationships to make her fall in love with him. His anguish is not born solely from her physical attractiveness. Susan is pretty to be sure, but she is also coquettish and self-possessed. She certainly knows her way around men and shouldn’t be giving Michael, a teenager, the time of day. She demonstrates no sympathy for the adolescent, a refreshing take for the film, teasing him over his virginity, awakening an untapped desire in the school boy. He is also tormented by Susan’s female bathhouse patrons which she foists on him in exchange for his male ones. He soon learns they tip extra for added innuendo and flirtations. Disgusted by this, he refuses to accept their gratuities as he tries his best to squirm out of their playful, though decidedly adult entrapments.
In terms of a modern touchstone, a film like ‘Eternal Sunshine of the Spotless Mind,’ is a good indicator of where Deep End might land for you as a viewer.
In terms of a modern touchstone, a film like Eternal Sunshine of the Spotless Mind, is a good indicator of where Deep End might land for you as a viewer. It captures a similar balance between the destructive power of obsessive romantic love mixed with dry, and at times outrageous comedic situations, while also touching on darker elements. Added value here is the killer score featuring Cat Stevens and Can in the mix, to punctuate a walk on the wild side of Soho night life.
Artistic choices
The film is chock full of interesting artistic choices. Skolimowski energizes the film with a bold use of color. This gives the drab wintery bathhouse in the suburbs of London incredible vibrancy. Although, ironically, most of the film was actually shot in Munich Germany, giving it a much more Eastern European feel. This colder feel is evident in the texture of the bathhouse and the shots of the suburban areas of the film which convey a darker and more bleaker Eastern feel. As well, the frank treatment of sexuality and the extent to which it is taken feels very much devoid of Victorian prudery.
The bold color palette of greens and yellow which allows for red to strike you as if with a razor’s edge when it appears is truly some of the most ingenious use of color palette work. What makes it so is the simplicity with which it’s employed by applying paint to walls, selectively choosing bold wardrobe and even down to the choice of colors for a car that plays a prominent role in the story.
As well, a smart use of props with a life size cutout of Susan found by Michael as a promo advert to get punters through the door of a strip club is brilliantly employed. For a large portion of the final act it becomes a character unto itself. In particular, how Michael handles this prop irreverently when confronting a bemused Susan with it on a public subway car adds great tension to the scene. The archivist in me gasped in horror when it’s almost beheaded by the doors.
Michael doesn’t attach sentimentality to this cardboard cutout. Instead, he pushes it in her face, attempting to shame her by moralizing—which seems rich from a horny teenager. But Susan, instead of being injured by this, laughs it off, insinuating as to what business it could possibly be of his. I admire Michael's clear headed tenacity here. I would have been much more reverential with the prop, and likely more embarrassed to have it on me in public. I was drawn in by how the movie uses this prop to its fullest potential; first as a moralizing pillar, then for a visually poetic act of consummation in the swimming pool back at the bathhouse—where it figures into the metaphorical ending to the film.
Not without its flaws (contains structural spoilers for the ending)
Although the movie is fantastically observed, capturing so much life in every frame, and beautifully designed, it’s not without its flaws. My main critique is that it couldn’t find itself a better ending. (STRUCTURAL SPOILERS AHEAD) It the end it opts for a suggestive visual metaphor leaning into the more Repulsion side of things, leaving behind the Truffaut-like tones of adolescent innocence it begins with. The transition isn’t a smooth one as the road was not paved for it. It transgresses a line it's been tight-rope walking, clearly answering a question its left hanging all along: do these events have any real consequence? The un-telegraphed shift threatens to up-end all the magic that’s come before. Nevertheless, it’s memorable, if not quite on point or satisfying. Still it is more desirable than forced sentimentality even if it doesn’t honor the tone it built itself upon. (END OF SPOILERS)
In summary
Deep End is an exceptionally daring and well observed coming of age film directed with an open heart. It starts with a whimsical take on adolescent infatuation, extends the theme through visual motifs ultimately creating something greater, approaching visual poetry, uncovering the emotional anguish of an introverted boy with a singular fixation. Having been one myself, perhaps it’s little wonder this film speaks to me so intensely.
In spite of a tonal shift at the end, the film overall is the very definition of a lost gem for its vibrancy, era authenticity and wonderful performances. It is so visually powerful and beautifully acted especially by the young Moulder-Brown who is wise beyond his years, even as perfectly as he is a boy in an overgrown body. It boggles my mind this film has existed as long as I have and yet I've only just heard of it. When the 80's was shoving Porky's and its sequels into our eyeballs this was here the whole time. Now that indeed is a crime.
Resource links imbedded here
Skolimowski’s latest “EO,” released last fall to critical acclaim resulting in renewed interest. A selection of his earlier films including this one are now available on the Criterion Channel, with his first feature now streaming on mubi. As well, a retrospective screenings this month at the American Cinematheque in L.A..