l_rawjalaurence Anyone expecting an aristocratic performance by Vivien Leigh is doomed to disappointment. Clad in a drab series of blouses and slacks, she makes Hester Collier a self-interested neurotic perpetually needing succour from anyone willing to listen. Her main problem is a lack of self-reliance, as the Doctor (Eric Portman) informs her. The men in her life are self-interested in their different ways, and have no emotional capacity to empathise with her. The only person who understands anything is her landlady (Dandy Nichols).Director Anatole Litvak opens the play to include multiple views of the seedier parts of London, where Hester (Leigh) has voluntarily ended up. The sera is hard and tough - not the place for a shrinking violet trying to assert her authority yet failing.

JohnHowardReid A London Films Production, presented by Alexander Korda. Copyright 1955 by London Film Productions. Released through 20th Century-Fox. New York opening at the Plaza: 12 October 1955. U.S. release: 20 November 1955. U.K. release: 27 September 1955. Australian release: 10 May 1956. 8,913 feet. 99 minutes.SYNOPSIS: Judge's wife falls for feckless flier.COMMENT: Aside from "The Village Squire" and "Gentleman's Agreement" (both 1935), this is the least known and certainly the least revived of Vivien Leigh's starring films. It's true there are reasons "The Deep Blue Sea" deserves its present obscurity. Chief of these is director, Anatole Litvak. Whilst he often blocks out his action effectively on the CinemaScope screen, he rarely moves the camera. Not only are there few pans and no tracking shots to speak of, even the director's famous "signature" crane shot is missing.The result is a rather stodgy, not to say stage-bound film. This impression is magnified by Vivien Leigh's overly theatrical performance which is at odds with the pitch at which other players, particularly Kenneth More, deliver their lines. As a result the audience never becomes really interested in Hester or absorbed in her problems. Some weak writing by Rattigan doesn't help either. Whilst the dialogue is often too verbose, characterization of all but the two principals remains stubbornly superficial.

bkoganbing After her second Oscar in Streetcar Named Desire Vivien Leigh made only three more films and in all of them she played older women who are hungering for love. Hardly the image of the saucy Scarlett O'Hara which she won her first Oscar with, but it did allow her to transition into roles for older women. This one her in The Deep Blue Sea is way too uncomfortably close to her real life.In this film it opens with her attempting suicide and being saved by prying neighbors. Her much younger second husband has left her and in flashbacks we learn what was going on. Vivien had been raised a prim and proper church girl with a country parson for a father. She learned the biblical view of sex that did not leave much room for later research into the field on a more clinical basis. She married the older and more settled Emlyn Williams who is a judge. But as they got older Emlyn got less interested in sex. Enter Kenneth More who was an RAF air ace and now a test pilot. That's real glamor for her and like Anna Karenina, another Leigh part she leaves Williams and runs off with More.But More's got issues also, he's an alcoholic and deep down he's looking for a mother figure. Since she and Williams had no children, Leigh isn't recognizing this nor is she prepared to deal with it.Terrence Ratigan adapted his own play to the screen and rather well since the play only takes place in Leigh's apartment. We get some scenes of London night life in 1955 and with More's job, part of the film takes place at an air show. On Broadway the play ran for 132 performances in 1952-53 and starred Margaret Sullavan.Offering advice and counsel is defrocked psychiatrist Eric Portman who is a neighbor. But as Leigh finds out as does the audience there are no no easy answers.The Deep Blue Sea is not as good a work from Ratigan as The Browning Version or Separate Tables. Still the cast performs well, especially Vivien Leigh who made very infrequent screen appearances now.

ianlouisiana In the 21st century there are apparently no weak indecisive women like Hester ; women who totally subjugate themselves to men.Or if there are we never see them on the screen.Miss V.Leigh seems like a relic from the Victorian era,but in fact in the male - dominated 1950s middle - classes her character was not exactly ploughing a lonely furrow. Married to a judge,she would have spent most of her time re - arranging the doilies and making cucumber sandwiches for her husband's friends. No question of empowerment for her.Perhaps we should,in the circumstances have just a little sympathy for her,desperate to grab a little happiness and excitement with her ex - fighter pilot lover. The fact that he is,frankly,a bit of a trimmer,should merely increase that sympathy.As Freddie,Mr K.More plays against type.He has a superficial charm but there is less in him than meets the eye.Mr More was about to embark on a winning streak engendered by "Genevieve" and "Doctor in the house" and many of his fans viewed "The deep blue sea" in much the same way as Dirk Bogarde's regarded "The Doctor's Dilemma" - a temporary blip in a long and successful career. Miss Leigh lends her ethereal beauty to the role,and in an age when women were expected to be subservient,her self - effacement and naivety would have been looked on as desirable characteristics. She made so few movies that her devotees,naturally enough,trend to treasure each one.My personal preferences would be "St Martin's Lane" and "Waterloo Bridge" when her startling beauty leapt from the screen, here,in early middle age she still emits a strange innocence,as if her she can't believe what her heart is making her do. Mr E.Williams - actor/playwright/author - plays the judge as a fair and compassionate man with an understanding of human weakness.Both he and Freddie are characteristic creations of Mr Ratigan whose work was to become deeply unfashionable shortly after the release of this movie. Actors who wanted to get on the West End stage would soon have to learn to slurp their soup and eat their peas with a knife,and parts for butlers became in short supply. He may have been thought to have been biting the hands that fed him in "The deep blue sea" by depicting the theatre - going classes as immoral and clay - footed and as such a contributor to his own downfall,but the march of Osborne,Wesker,Pinter and co was inexorable. Viewed as a movie per se it is not particularly exciting,competent rather than inspired,ordinary rather than cutting edge,nobody was going to say to Mr Litvak "Tony,you're soooo rock 'n' rol1",but the essence of the play is put over well enough.Like so many works of the theatre it is best experienced in its own medium and is regularly revived quite successfully.As an example of the ouevre of the leading players it is a little out of the usual and consequently a curiosity rather than a "must-see",but if you want to see Mr More as a good old - fashioned cad this is your only chance to do so.