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The Deep End 2001 |
Review by Jonathan Cornwell |
Directed by Scott McGehee and David Siegel
R, 99 min. (violence, mature themes, language) |
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Starring: Tilda Swinton, Goran Visnjic, Jonathan Tucker, Peter Donat, Josh Lucas, Raymond J. Barry, Tamara Hope, Jordon Dorrance
Producers: Scott McGehee, David Siegel
Screenplay: Scott McGehee, David Siegel
Cinematography: Giles Nuttgens
Distributor: Fox Searchlight Pictures
Released: 8.15.01 (Limited) |
Rating:
 (out of ) |
The Deep End is a film for those who love intelligent thrillers free of clichés and prodding directing that suffocates
a story before it has a chance to develop. Here, directors Scott McGehee and David Siegel have wisely allowed their
characters plenty of room to breath, resulting in a deliberate but taut storyline that rewards its audience with wonderful, silent
scenes filled with tense moments that accomplish much more than contrived action sequences could ever muster. The Deep End
falls into the category of thriller, but could easily be a character study of an ordinary mother who fights through one
dilemna after another while discovering something about herself as well. The reason this film stands out from other similar
pictures is in the small stretches of poignant dialogue that elevates it above most other conventional films. Easily one of the year's
best films, The Deep End also features a career performance from Tilda Swinton, whose stoic yet strong demeanor help
her meet the almost impossible circumstances that turn her world upside down.
The story takes place in Lake Tahoe, Nevada. Margaret (Swinton) is left alone with her children, Beau (Jonathan Tucker),
Paige (Tamara Hope), and Dylan (Jordon Dorrance), most of the time because her husband is naval aviator. She is
acutely aware that Beau (17) has developed a risky homosexual relationship with a sleazy night club owner nearly twice
his age, Darby Reese (Josh Lucas). When she confronts Darby and offers him $5000 to stay away from Beau, he accepts.
Then one night, Darby shows up at their house seeking out Beau for an impromptu date. After a fight, Darby slips off
their lakeside deck and lands on an anchor, killing him. Early the next morning, Margaret stumbles upon the body and
takes it upon herself to dump the body in another part of the lake far away from their residence. She doesn't know what
happened, but assumes Beau may have something to do with it. Beau has a promising music career ahead of him and
Margaret will not allow him to be destroyed by this tragedy. Although the police investigation has yielded no results,
a blackmailer, Alek Spera (Goran Visnjic), has demanded $50,000 to hand over evidence that incriminates Beau. Now,
Margaret is in a race against time and a family trauma to come up with the money.
The film uses suspense of the psychological variety to engross its audience. There's no real action sequences to found here;
instead the film incorporates a breathtaking background with riveting dialogue that breaks down the essence of the
blackmail scheme. Margaret must use her considerable intelligence to counter the intimidation tactics of Alek, whose cool
exterior is obviously fighting with raging internal sympathy for her plight. The relationship between Margaret and Alek
is the heart of the film, and shows a remarkably smooth transition in Alek - from no-nonsense criminal to heartfelt emotional
turmoil and a love for Margaret. In the film's critical scene, Margaret's sharp rebuke to Alek's demand for her increased effort to come
up with the money clearly silences, embarasses, and then melts Alek's resolve. It's one of the best scenes of any movie this
year.
While there are strong supporting turns from Visnjic (E.R.) and the emotionally unstable Jonathan Tucker, it's
the truly astonishing performance from Tilda Swinton that steals the show. She allows the audience into her secluded mind,
inviting us to come along for the ride. She gives a complete effort here - her considerable range spans the spectrum of
emotions from pride to helplessness. Swinton has had solid efforts in the past, most notably in 99's stunning The War Zone or even in Leonardo DeCaprio's The Beach, but they're a far cry from what she's accomplished here. An Oscar
nomination is imminent, provided enough people see the film.
The Deep End is based on the novel "The Blank Wall", which was written in 1947, and subsequently made into a film in
1949's The Reckless Moment. What McGehee and Siegel sought to do here is bring the same surreal nature of the
surroundings into the storyline, while changing a few plot points to bring it up to today's speed. What they've accomplished
here is surprising, considering their first effort, Suture, was a disappointment in most critics circles. They correctly
envisioned a thriller that could be successful by focusing the story on one resilient character rather than a bunch of car
chases, gunplay, or explosions. The Deep End is fully satisfying, involving, and difficult to take your eyes away
from.
© 2001 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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