"So entirely immersive is Terence Davies's desire to recreate and analyze the ethos of post-World War II Britain that not only has he fulfilled his ambition to refashion Terence Rattigan's The Deep Blue Sea," writes Todd McCarthy in the Hollywood Reporter, "but he has created a theoretical sequel to Noël Coward and David Lean's Brief Encounter in the bargain. As intensely personal and deeply felt as it is, however, Davies's attempt to breathe new life into Rattigan's 1952 play is a rather bloodless, suffocating thing,
The good news is that Terence Davies's adaptation of Terence Rattigan's 1952 play about a judge's wife who has an affair with an Raf pilot is nothing if not faithful. It's a veritable Greyfriars Bobby: patiently wagging its tail, even if its master is not looking too hot around the chops. Those who can't bear the idea of a staple of the English stage sexed-up for the flicks can sleep easy. That's the bad news, too, of course.
Whatever measures Davies takes to make cinematic waves – lavish soft focus, energetic orchestration, a devil-may-care approach to cigarette smoke – The Deep Blue Sea remains flat as a duck pond, the prisoner of a story whose relevance, even in metaphor, has lost much of its sting, and whose dialogue has
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