I like the storyline of this show,it attract me so much

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Jerzy Skolimowski's "Deep End" stars John Brown as a young Londoner who takes up work at a local bath house. Here he meets and becomes infatuated with a beautiful woman, played by Jane Asher."Deep End's" use of colour would be praised by a young David Lynch, whose own "Blue Velvet" would be heavily influenced by its coming-of-age plot. Skolimowski's film is one of beautiful night time photography, raw acting, young, nervous energy, a palette which alternates between drab and bold colours and many interestingly sleazy locales. It's a film heavy on mood and atmosphere.Released in the middle of the sexual revolution, Skolimowski's cast of men and women, girls and boys, are all shown to be adept at games of control and domination. The film's bathhouses are rigidly divided by sex, its cubicles and halls all zones of contestation for predators and prey alike. Jane's character is herself both a fetishized object of desire, continually used and debased by men, and a headstrong woman who toys with others. A working-class variation of Diana Scott (Julie Christie) in "Darling", she plays with the affections of multiple male suitors and effortlessly uses sex as a bargaining chip.Toward the film's end, Skolimowski has John dive into a pool with a one dimensional, cardboard cutout of Jane, the scene suggesting something about John's deeply submerged, unconscious desires. Later he withholds a diamond stud from her, subtly forces her to sleep with him, and then kills her when the disappointing reality of the experience fails to live up to his idealisations. It's here when we realise to what extent the film has implicated its own male audience; Skolimowski forces us to consider what exactly we're rooting for and where exactly, if anywhere, our allegiances lie.The film mixes surrealism with a delirious, dreamy tone. Its acting is stilted but this only heightens Skolimowski's dream-like atmosphere. Here, the sexual revolution is presented as a sham, or perhaps something unfulfilling at best, dangerous at worst.Though set in Britain, the film was extensively shot in Germany and was directed by the Polish Skolimowski, who after running afoul of the Polish government with his anti-Stalinist allegory, "Hands Up!", relocated to England in the hope of finding artistic and commercial success.8.5/10 – A classic of British cinema. See "Walkabout", "A Swedish Love Story" and "Darling".

If you can imagine that this is your brief to make a film that must contain all of 1-4. 1)A sleazy swimming baths and steaming wash rooms. 2)A young woman swimming bath attendant and a young boy swimming bath attendant who are the principal characters. 3)Various other characters who visit the swimming baths. 4)Obsessional love. So from the list above an exceptional film must be made. It must hold your attention throughout. It must be fresh; never sluggish. It must have superb camera work. The principal characters must be void of cliché dialogue - and this is the hard part - use ABSOLUTE naturalistic dialogue - or improvised? If you think you can do it better than the above film then please do so. If not then watch 'Deep End'. Not only did I enjoy this film immensely but fell deeply in love (if you'll pardon the pun) with Jane Asher.

For many years a somewhat obscure and unseen semi-avant garde melodrama,DEEP END has had a recent revival in digitally restored fashion in cinema,DVD and television,and has an undercurrent of strangeness running through it's entire oeuvre.Set in post-swinging 60's London,but an American/West German co-production directed by Polish-born Jerzy Skolimowski mostly filmed in Germany,with an eclectic cast and musical score,a dubious story and related characters.This overall oddness does not necessarily equate to greatness,but DEEP END still nevertheless manages to hold the attention throughout.A decidedly gauche,awkward 15 year old youth,Mike (John Moulder-Brown) starts his first job at a grimy,dilapidated London municipal bathhouse,and falls in love with a beautiful but uninhibited female co-worker,Susan (Jane Asher),a few years older than him.Susan is apparently engaged but uses and exploits other males for her own pleasure,including the hapless Mike himself.The attraction gradually seems to become more mutual,if dangerous.Coming at the end of the optimistic,happy-go-lucky 60's and populated with rather unlikable characters,DEEP END is packed with so much symbolism as to be in peril from drowning in it.The setting of the seedy,crumbling bathhouse is an obvious metaphor for being literally thrown into the deep rather than shallow end of life,with the related problems,frustrations and behaviour on show signifying this.For a while,DEEP END comes across as a familiar but wispily charming essay on the pains of growing up,with an amusing cameo from Diana Dors (who became a better actress as she got into early middle-age),holding Mike to her bosom while mumbling platitudes about football,though it's not long before it all becomes progressively darker,with dubious behaviour from a male swimming instructor (who Susan has a dalliance with) towards young female students,and an increasingly unhealthy relationship between Mike,so wet behind the ears as to be soaking,and the voluptuous Susan.Moulder-Brown is fine as the hopelessly naive adolescent,though as with many teens his character's behaviour and traits often becomes very irritating,while Ms Asher is convincing as his and other males object of desire,outrageously sexy and knowing it,teasing and cajoling as many males as she can muster,mostly for her own entertainment and amusement in the skimpiest clothing imaginable.With all this symbolism (such as Mike stealing a cardboard life size poster of Susan from London's underground) and semi-Freudian obsession,DEEP END has little in the way of plot,and much of the cast are not British but mainland European (mainly German).This sometimes gets in the way of authenticity for the more pessimistic mood of late 60's/early 70's London (not surprising as much of the film was apparently filmed in Munich),and Skolimowski often seems not to have an ear for the English language,with some scenes allowed to ramble with somewhat stilted dubbed and non-dubbed dialogue.There is much use of hand-held camera and other scenes which have an improvised feel,which is not necessarily a bad thing as said moments have a more spontaneous,humorous and natural feel to them.Such locations as the bathhouse and Soho (which features a funny cameo from Burt Kwouk) add to a sense of decline and seediness while observing the dubious behaviour of the main and secondary characters involved,which inevitably leads to the climax in the swimming pool,with the symbolism at it's height as it being empty and drained of water,but there is a twist in store.....With it's dreary,seedy setting and unsympathetic characters,DEEP END could have been utterly disposable,yet it's very style deem it oddly compulsive and curiously watchable,with it's best moments reserved for it's finale with haunting and extraordinary imagery that linger in the mind long afterwards,confirming it's reputation of being a bizarre,rediscovered cult classic.RATING:7 out of 10.

An exceptional, unlikely coming-of-age film from Jerzy Skolimowski. John Moulder-Brown gets a job at a public bath house and is soon smitten with co-worker Jane Asher. Asher, who's seeing two other men, could care less. It's by no means straightforward. Instead DEEP END is gritty, funny, and ultimately tragic. That should be no surprise coming from the idiosyncratic Skolimowski. His films are always a mix of genres. Moulder-Brown is terrific as a the awkward adolescent and Asher has what is probably her best (certainly most substantial) film role. They have great chemistry together. There's also an oddball supporting cast including Erica Beer as the bath's bitchy cashier and one-time sexpot Diana Dors as one of Moulder-Brown's kinkier clients. Karl Michael Vogler gives a fine performance as one of Asher's callous lovers. The music is by Cat Stevens though its sparsely used.