I recently went solo to see this nostalgic Terence Davies film, a mesmerizing adaptation of Terence Rattigan’s The Deep Blue Sea. It was quite beautiful in places. Very painful in its fractured authentic truth. And as a dear friend described it, dull. I agreed, but not in the same way that she intended. It was not dull because of the acting, which I thought captured something very acute and special. It was dull because of the impending forecast of a un-rewarding ending. The script left for a dull, thudding ache in the chest, the gut, and the soul. The throat closed just enough to let the oxygen pass through.
The simple beauty and the romantic nostalgic fusion of two naked bodies locked together in a lovers knot, were both breath-taking and all evoking. And proved that the art of dignified film making is most definitely not extinct. God the light shone only in the corners of grace, that waited in the shadows of the three broken lives. Lives which we were forced to intimately live with, for just 24 heart breaking hours.
The final scene in which we see the courageous Hester Collyer played by Rachel Weiz trying to find her warmth and comfort beyond the darkness desperation and sorrow, from the light of a home-made fire, is all-powerful. Shell shocked. I did not cry. It did lack something. But whatever it was that it lacked, it also shared a goose bump familiarity, that resonated with the acute and perfect pain and suffering of growing in Grace.