By Andy Klein /
March 23, 2012
A director’s touch and precision acting give life to 'The Deep Blue Sea.'
"The Deep Blue Sea" opens with Samuel Barber's beautiful Violin Concerto, the sound of a ticking clock, and the on-screen legend "London, Around 1950." It's night, and the camera tracks very slowly along a shabby street before tilting up to a third-floor window where we see Hester Collyer (Rachel Weisz).
We enter the apartment and watch her calmly prepare to kill herself, by both taking pills and turning on the gas. It's the suicide equivalent of wearing a belt and suspenders.
Once we get to know her better and learn the circumstances leading to her current actions, this apparent surfeit of caution seems out of character: In matters of love, romance, and sex, she has thrown caution to the wind. As the camera smoothly follows her around the room and her mind wanders to some brief flashbacks, the film is more concerned with setting a tragic/romantic mood than giving us a lot of detail.
The 10-minute opening sequence is shot almost like a silent movie, with no more than a line or two spoken.
READ MORE: http://www.csmonitor.com/The-Culture/Movies/2012/0323/The-Deep-Blue-Sea-movie-review
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