“ […] there’s never been a colour movie I’ve freaked out over except one, this thing called Deep End, which had really great art direction.“ – David Lynch, NME Interview 1982
Als der deutsche Produzent von „Deep End“, Helmut Jedele, den Film-Editor Barrie Vince fragt, „Do you think it’s going to be alright?“, antwortet Vince: „I have a nasty feeling that I may never work on a film as good as this again.“
IF YOU CAN’T HAVE THE REAL THING
YOU DO ALL KINDS OF UNREAL THINGS
[US Poster]
„We were such a good team, you know, everybody helping the film very very much.“ – Jerzy Skolimowski
Jane Asher wies 2011 die Behauptung zurück, daß sie für einige ihrer Szenen um ein Body-Double gebeten habe: „I certainly didn’t! … And, looking back, I like the way it’s done.“
Ihre Sorge war lediglich, ob sie lang genug den Atem anhalten könne bei den Unterwasserszenen.
„I love her.“
„You perverted little monster.“
„But for John Moulder Brown and Jane Asher, I am lost in admiration. They take a vision and […] render it alert, subtle, graceful and sensitive to some of the loveliest gestures in recent films.“ – Roger Greenspun, The New York Times
„A work of genius.“ – Andrew Sarris, Village Voice
„A work of daring originality. One of the most bizarre and hypnotic movies to come along in many seasons. You won’t forget it.“ – Rex Reed, Chicago Tribune
Jane Asher’s Susan is, as she must be, the hot and cold heart of the movie, its oddness and allure, alternately compassionate and closed off. It would be difficult to imagine a finer performance here than Asher’s. Her beauty enables us to see Susan in Mike’s terms, as an object of erotic fascination, while her skill reveals Susan for what Mike gradually discovers her to be – a mixed-up post-adolescent barely aware of her power, or of herself. Asher’s attractiveness is obvious; more elusive are the […] mournful eyes which […] suggest a soul deeply saddened by early hurts, or by some fundamental disappointment with life. [criticsatlarge.ca]
Das Cabinet des Christian Erdmann 