Deep Water (1981) User Reviews

Moody and memorable

[Maciste_Brother · 8/10 · 27 March 2007]

EAUX PROFONDES, or Deep Water, is a French film based on a Patricia Highsmith novel. I haven't read that book but I've read some of her other novels and I can safely say that this film is the best version of a Patricia Highsmith novel ever. It perfectly captures her tone and style, unlike the recent crappy version of TALENTED MR RIPLEY. Highsmith herself said she loved this movie.

The story is about this "odd" couple. The wife, played by the beautiful Isabelle Hupert, attracts men and brings them to her house, even in front of her husband, played by the not so beautiful Jean-Louis Trintignant. Those men eventually end up dead.

What's going with those two? Is Huppert taunting Trintignant's psychotic character? Is Huppert bringing those men for her husband to have "fun" with? Is Huppert the real psycho in this couple, knowing her husband will kill her lovers and she recklessly brings the clueless men to her house? The two are playing a deadly game with each other and men end up dead. The whole thing is never clear and that's why this film is so cool. The aura of mystery is near perfect. Because there's an aura of mystery with these two, the film becomes a pretty sharp and brilliant statement on couples in general.

It's sorta like Paul Verhoeven's THE FOURTH MAN, made 3 years after this, but without the usual violence and crudeness fond in Verhoeven's films.

EAUX PROFONDES is unlike any film I've seen. It's moody and atmospheric. The music is brilliant (arranged by Charles Dutoit) and the cinematography is beautiful. There's not much more to say. The film is as simple, or not as simple, as it sounds but personally speaking, Huppert and Trintignant make an unforgettable couple. I haven't seen it in a while and I wish they'd release it on DVD.

For fans of dark, brooding, sexy films with a "twist" look no further than EAUX PROFONDES.

Men about the house!

[brogmiller · 7/10 · 29 April 2021]

I think one can say without fear of contradiction that Patricia Highsmith was a deeply complex individual with more than her fair share of demons. Her spectacles were never rose-coloured and her gripping tales featuring deeply flawed, morally vacuous, sociopathic characters have proved to be manna from heaven for film directors notably Hitchcock, Clement and Chabrol.

This adaptation of her fifth novel 'Deep Water' is directed by Michel Deville.

This film slowly drew me in and held my attention although M. Deville's rather tasteful and measured directorial style would seem to lack the 'edge' required for this sort of material. Where it does have the advantage is in the casting of Jean-Louis Trintignant and Isabelle Huppert as Vic and Melanie. He is the outwardly complaisant husband and she is the notoriously flirtatious wife who rubs his nose in it. He resolves to kill one of her paramours but of course one murder is never enough.........

Trintignant, with his unruffled exterior concealing the turmoil within and Huppert with her combination of vulnerability and almost cruel impassivity, are tremendous and their dynamic is mesmerising. The supporting players alas are not up to much but mention must be made of splendid Sandrine Kljajic as their young daughter whose childlike innocence gives the film a balance. The relationship between father and daughter is beautifully drawn. In one scene his bedtime story is that of Samson and Delilah!

Deville utilises his favoured editor Raymonde Guyot and Manuel de Falla's Concerto pour Clavicin is cleverly employed.

The subtle ending with its family reconciliation is filmically effective but the author's original ending would have packed a far greater punch.

Deville must have felt deflated by the films failure to make an impact but he hit the bullseye four years later with his critically and commercially successful 'Péril en la Demeure'. Still tasteful but this time with an edge!

hell is sometimes cool

[dromasca · 8/10 · 19 March 2023]

The American remake was released on screens a year ago. I did not get to watching it yet, and I'm not sure if I will soon. 'Eaux profondes', the 1981 adaptation of the novel 'Deep Water' (this is also the name of the film in its English distribution) by Patricia Highsmith is too good a film to risk changing my impression. The director is Michel Deville, the French director who left us a few weeks ago, and the lead roles are played by Jean-Louis Trintignant and Isabelle Huppert. 'Eaux profondes' is an excellent opportunity to see again Trintignant (who also disappeared last year) at the peak of his career, Huppert (who turned 70 a few days ago) while becoming a star and at her supreme physical beauty, and to appreciate Deville's professionalism and inventiveness in the decade in which he directed his best films.

The story in the American writer's novel is moved to the island of Jersey, a territory of the British crown located about 19 kilometers from the coast of France. The landscapes are, of course, spectacular, and the location is also a good opportunity for Michel Deville to shoot in British objective-realist style. Vic is a perfume maker, his wife Melanie is many years younger and the couple have a six-year-old daughter. Apparently they are a happy couple and a very liberal one in their behavior. Melanie openly flirts and dances at parties with the men she meets, under the indulgent gaze of Vic, who prefers to read, play chess with himself, and raise snails in his garage. When Melanie's adventures begin to materialize, Vic begins to react in an original way - he threatens his rivals with murdering them. From threat to deeds the road is not too long, and crime can be the best proof of love.

What we see on the screen is a real hell, if we judge the relations between the two spouses according to the accepted norms. Michel Deville films everything in an objective and detached style. The characters hide a lot of darkness and many details remain incompletely clarified. Why is Melanie acting this way? Boredom, Ana Karenina syndrome or the feeling that the relationship between the two has reached an impasse that cannot be overcome? How should we interpret the ending, which is changed from that in Patricia Highsmith's novel? The audience's feeling of discomfort is accentuated by the excellent soundtrack that combines dance music, aggressive jazz and Manuel de Falla's harpsichord concerto, but also by the presence of the little girl who witnesses many of the conflict scenes. Michel Deville has created a cool and unsettling film, one that viewers won't soon forget.

Was Deville the right director here?

[dbdumonteil · 22 June 2006]

Deville was the perfect director for such light gallantries such as "Benjamin"(1968).And what about Highsmith? Patricia Highsmith 's books are deceptive:it is hard to adapt them badly for the screen while being harder still to adapt them well.To my eyes ,one director has succeeded :Alfred Hitchcock ("Strangers on a train" ),three have partially succeeded (René Clément "Monsieur Ripley" (the talented M.Ripley) Anthony Minghella (its remake) and Wim Wenders 's "Der Amerikanische Freund " (Ripley's game) .Claude Chabrol was not so successful with "cry of the owl".Claude Miller butchered the brilliant "that sweet sickness" (="Dites lui que je l'aime") "Eaux profondes" is intense psychological drama.The story of a man who is jealous and kills all his wife's lovers.He warns them before .Trintignant,a good choice,tells them so: "I kill them" in a smooth voice .He treats his wife like a big doll,the scene is the bathroom is telling.

There was in Highsmith's book an atmosphere ,a terrible progression which led to madness:the film has a tendency to simplify too much and its main drawback is to be too short.

When she was interviewed when the movie was released,Highsmith told the journalists she had appreciated the movie.Make up your own mind about it.

Eaux Profondus - brief

[user-142-632625 · 6/10 · 29 November 2014]

Classic French art-house mystery thriller for the wine n cheese crowd. Young trophy bride (Huppert) flirts and attracts numerous young swains. Husband warns each of possible consequences. Those who heed, flee. Those who abide, however ... Challenging in that the viewer never knows the relationship between husband and wife, or how much friends and neighbors (island of Jersey) turn a blind eye to Measured pace (for modern viewers, read slow) that delivers unexpected jolts. Warning, there is violence in this film, and it bursts seemingly out of nowhere. Jean-Louis Trintignant unforgettable as the multi-layered husband. Based on Patricia Highsmith (Ripley stories) novel.

"Spirit on the water, Darkness on the face of the deep."

[morrison-dylan-fan · 10/10 · 3 April 2017]

After the earthy Neo-Noir Coup de torchon (also reviewed) exceeded all my expectations,I decided to see if lead actress Isabelle Huppert made any other titles in 1981. Always looking out for Patricia Highsmith adaptation since seeing The Talented Mr. Ripley in the early 2000's,I was thrilled to stumble on an adaptation with Huppert,which led to me dipping into the pool.

View on the film:

Drawing every guy with her gaze, Isabelle Huppert gives an entrancing performance as Melanie,whose flirting Huppert gives a relaxed nature to,which Huppert sharply balances by giving Melanie icy, Femme Fatale nails that scratch at Vic's attempt to stop Melanie getting her "toy."

Watching his wife make out, Jean-Louis Trintignant gives a wonderful performance as Vic,who initially acts just a bit too friendly towards everyone. Keeping the anxiety in the marriage simmering away, Trintignant shatters Vic's calm with a calculating Noir loner manner that uncoils as Vic gets Melanie's lovers in his grasp.

Backed by a deliciously brash Jazz score,co-writer/(with Florence Delay and Christopher Frank) director Michel Deville & cinematographer Claude Lecomte whirl Film Noir chic with the dazzling style of the Giallo. While Vic and Melanie hit a dark stage in their marriage, Deville lashes the screen in vibrant reds and Giallo yellow that give the title a sweet pulp atmosphere.

Cracking the relaxed shell of Vic, Deville hits the screen with ultra- stylised,scatter-shot whip-pans and razor sharp editing stabbing the murderous calculations Vic has made.

Swimming in Patricia Highsmith's novel,the screenplay by Delay/ Frank/Deville cleverly give the couple a "free love" appearance for the opening,which subtly pulls the viewers guard down. Slicing into the Noir decay of the marriage,the writers brilliantly burn layer by layer the facade Vic has made Melanie believe,as Vic sets his sights on the designated victim.

Very much in the Claude Chabrol vein, though not quite as good

[gridoon2024 · 5/10 · 16 April 2024]

"Eaux Profondes" is based on a Patricia Highsmith novel, but to the book-illiterate it may look more like an unofficial remake of Claude Chabrol's "La Femme Infidele" (although the book came out in 1957 and Chabrol's film in 1969, making you rethink who influenced whom first). It is a calm, dispassionate story about infidelity, jealousy, and murder, with some interesting transitions by director Michel Deville and two excellent leads: Jean-Louis Trintignant (he's at his best when he puts on a wolfish smile) and a young, frequently nude Isabelle Huppert. But it is also repetitive, feeling longer than it is (93 minutes), without enough psychological depth. Also the music score sometimes gets too loud and annoying. ** out of 4.

Horrible

[readerjsp · 27 July 2001]

Somehow this film manages to be boring and disgusting at the same time. The music is particularly awful - faux baroque/jazz - and violin scratching that is supposed to be suspenseful but is just annoying. As is typical in French movies, it starts out well, with a very interesting premise, interesting characters, good dialogue...and then nothing happens. Well, to be fair, some things do happen, but there is never a sense of direction, of the story going somewhere, or of anything being resolved. I can't blame it all on the French though. It's based on a book by Patricia Highsmith and in her signature style glorifies immorality and sexual/psychological perversity. She also wrote "The Talented Mr. Ripley" and "Strangers on a Train." Hitchcock was a master filmmaker, and while he kept the evil and the pscyhopathy, he also had the skill to make "Strangers" into a film that is scary and suspenseful, yet with an ending that doesn't repel.

This is like watching a cat and mouse game that you couldn't care less about. I'm sorry I wasted an hour and a half on this terrible movie.