Alicia I love this movie so much

SnoReptilePlenty Memorable, crazy movie

HeadlinesExotic Boring

Logan By the time the dramatic fireworks start popping off, each one feels earned.

jovana-13676 The road to hell is paved with comic situations. This film doesn't seem acted at all, it's more like setting up a camera while things happen, which enhances the atmosphere of aloofness. The actors seem free to improvise - that may or may not really be the case, but their acting seems free of constraint. The blue of the pool, the yellow raincoat and the red paint that spills in the end remind me of Godard's Contempt (1963) which also has a similar plot and ending - it's focused on rejection. The boy actor reminds me of the young Roman Polanski and Jane Asher still looks like a teenager, so her character's immaturity doesn't come across as weird. Legal age doesn't make people mature anyway - that's the point that Diana Dors demonstrates so well while smothering the boy. Now, the question remains - did they really need Burt Kwouk in this film just to sell hot dogs?

Errington_92 "Oh, it's you boy" signals the first scene in Deep End that presents sex in its most grotesque form. Mike's overly aggressive client proceeds to grab his head and rubs it over her breast and body fuelling her desire before forcing Mike out of the door. The client had manipulated Mike for her own sexual needs and in Deep End, the manipulation rises to ugly peaks. Naive concerning the wider world, Mike begins his first job alongside Susan at the local swimming bathes which happens to be a place where sexuality is ripe in an astonishing manner. This causes friction between Mike and the loose Susan who he is immediately fascinated by yet jealous of her exploits. Susan plays with this infatuation in her mind games with Mike. He acts in a child – like manner when his Mother visits annoying Susan. "Your Mother's a cow", she tells Mike. He responses back by insulting Susan's Mother before she tells him, "She can't be, she's dead". Her cold expression indicates her lies, the pillows above her of different faces symbolise the many personalities Susan portrays to trick others.Her manipulation of Mike soon turns sexual. Discussing a safe sex poster leads Susan to place the poster on Mike teasing him. When discussion leads to sex itself, Susan takes off her sandals to put her bare feet against Mikes, revealing her dark sexual nature at play. Mike reveals he's a virgin and becomes embarrassed; Susan acts on this by stroking his hair and face before putting herself closer to him. Her actions establish Susan as a cruel deviant, who enjoys teasing Mike and abusing his emotions confusing his inexperienced mind. Yet it fuels Mike's longing for Susan even more. After following Susan and her fiancé to a pornographic screening, Mike sits behind her letting his passions out by placing his face gently on Susan's arm. She looks over and lets Mike play into her game. She lets Mike feel her breast before gaining the attention of her fiancé by slapping Mike, landing him into trouble. Whilst her fiancé calls security Susan quickly turns to Mike and kisses him passionately, causing Mike to smile with delight seemingly unaware of not only the trouble he is in but once again he has become the victim of Susan's twisted game. Yet her manipulation slowly backfires as Susan has ignited Mike's compulsive passions for her even more, resulting in dangerous consequences.Wandering around the seedy streets of London stalking Susan, Mike is first offered into strip clubs by employee's blunt description of the distasteful acts which are performed, another element in Deep End which portrays sexuality in a filthy manner. He then notices a cut out of 'Angelica', a bare breasted girl with a staking resemblance to Susan. Bewildered he hides out in a prostitute's room who once he decides the coast is clear she begins to blackmail him for money. "You've had my time and my emotions" she states in a sly, coy manner. Yet another woman manipulating Mike with her sexuality. Once Mike runs off after Susan, he lays out his ill – fated love for her. "Look at it! Is this you?", Mike asks. "I'm much worse than that" Susan replies sarcastically. This engages into a bitter argument between the two as Mike, still showing his naivety of Susan's true nature by asking her how she can pose nude. This brings out his obsessive behaviour trying to force Susan to explain herself. It shows what Susan's mind games have lead Mike too, becoming obsessed with Susan to the point of fantasising about her on a dangerous level. Throwing 'Angelica' into the pool before he himself jumps in nude, the underwater shot shows Mike holding on to a make – believe Susan. Immersing himself into seemingly unpredictable depths within his imagination. These deranged depths come to ahead once Mike plays a dirty trick on Susan by knocking out the diamond in her engagement ring. Once Mike manages to find the diamond, instead of giving it right back to Susan he attempts to create his dim fantasy by stripping off naked and wait for Susan to return in order to blackmail her into sex. Mike has learnt a technique from Susan which shows how tragically desperate he is as well as the extent of manipulation Susan has reached, corrupting Mike's mindset. At first hesitant, she decides to strip nude to entice Mike into letting his guard down taking the diamond back, leaving Mike to sulk. Yet suddenly Susan has a change of heart, she goes back to Mike and offers her body to him. Was it out of pity or was she playing an even crueler trick on Mike? Either way the raw natured Mike attempts to take advantage of his fantasy becoming reality. Yet it's a bittersweet experience. He may have finally got his arms around Susan's bare body but he fails to accomplish what he wanted. It was not the meaningful encounter he desired but rather a disastrous one with none of the emotions he had hoped for. Embarrassed and angry by the experience Mike attempts to explain himself to Susan, who wants to forget it. Her coldness towards Mike eventually leads to her demise, in the heat of the moment Mike swings the ceiling lamp at Susan knocking her unconscious. She slowly sinks into the water as the swinging lamp knocks down a tin of red paint, mixing with the pool water in a symbolic gesture of Mike's dangerous passions for Susan along with his demise. Rather than trying to save her Mike simply cringes on to her dying body. Both paying the price for their obsessions and manipulations respectively.

Kenneth Anderson I'm all for films with unique, personal perspectives of the seamier side of life, but I'm baffled at reviews that describe "Deep End" as a coming-of-age story. Only if the boy coming of age is Norman Bates. This look at the disturbingly creepy fascination a 15 year-old bathhouse worker (John Moulder-Brown) develops for his hardened but lovely co-worker (Jane Asher), "Deep End" struck me more like "Taxi Driver: The Teen Years." I haven't read much that details the film as a psycho-sexual drama that depicts the gradual unraveling of an already damaged teen's psyche. Sort of a non-sensationalistic / art house "Who Killed Teddy Bear." What I have read are baffling accounts as to how the film so accurately captures male teen sexual awakening. Yikes! I don't care how many hormones are raging, the young man at the center of the film is not just your average adolescent with an obsessive crush on an older co-worker. He's nothing short of batty from the first frame. He's exceedingly socially retarded and hasn't the coping skills of a four year old. What I think is supposed to be the awkward first steps of sexual attraction are so downright odd that he comes off every bit like a sexual predator in training.I simply found it impossible to relate to the played-for-laughs creepy antics of the lead. He's not love struck, he's dangerous.Adding further to the intentionally distasteful vibe of the film is the perhaps unintentionally pervasive air of misogyny that hangs over the entire film. I know we're supposed to be seeing the world through this boy's eyes, but the women in the film are portrayed unvaryingly as: whores, teases, users, terrifying, or grotesques. I think the skill of the director and the natural performances he has extracted from his cast has created an "Emperor's New Clothes" situation here. "Deep End" is decidedly accomplished in creating a seamy view of London akin to what Scorsese would do later in "Taxi Driver", but however well- observed, no one should take this look at a budding sexual psychotic as an image of puberty run wild. Not a love story and not a story about sex. It's a horror film.

preppy-3 15 year old Mike (John Moulder-Brown) gets a job as a towel boy in a seedy British bath house. He becomes obsessed with co worker Susan (Jane Asher) who seems to egg him on but she has two boyfriends of her own. He becomes more and more obsessed and it leads to a disturbing ending.Depressing and dirty (you feel like taking a shower after watching it) but undeniably powerful. There isn't one likable character in the film--Mike is obviously disturbed and Susan comes across as a real bitch--but you can't stop watching. The imagery, the acting and clever mixtures of sound had me mesmerized. Asher has a risky role playing a horrible woman who's teasing a 15 year old and using two other guys but she does manage to show that she isn't totally evil. However Moulder-Brown really holds the entire movie together. He was 19 when he did this (and looks it) but he convincingly acts like a 15 year old boy who can't control his lust for an older woman. Also both of them have nude scenes but they're not the least bit erotic. However they ARE necessary for the integrity of the story. Also Diana Dors is very funny in a small cameo as a woman who REALLY likes football! I can honestly say I'll probably never see this again--it's WAY too depressing--but I don't deny it's incredible to watch.