I’m a little surprised Donna Summer did the theme song for The Deep, seeing as how she’s black and, according to The Deep, every black person is a villain of some kind or another.
Even with his blond locks, I’ve never thought of Nick Nolte as particularly aryan (maybe because his eyes are so brown), but he really comes off like a, well, honky in this one. He calls Louis Gossett Jr. a basketball player as a euphemism for black. Seriously. I think, the last time I tried watching it, I turned it off at that point.
But I struggled through this time and, for that last shot, it’s almost worth the torture. It’s an awful conclusion, maybe the second worst I can think of (after the second Planet of the Apes).
Yates’s Panavision composition is boring, seemingly ready for the TV version (since The Deep was pre-video). John Barry contributes a wholly inappropriate but exceeding lovely score. It’s hard to say if it’s all Yates’s fault or if it’s just a bad production. I’m sure Peter Benchley’s novel wasn’t good, so his screenplay would be similarly dubious. But there’s nothing thrilling about it, there’s no excitement. In fact, it might be the only big Hollywood picture I can think of without a single likable character.
It’s a long two hours, mostly because of the lengthy exposition and then the boring underwater scenes. It’s an anti-thriller film, almost worth examining.
Even Robert Shaw is phoning it in here.
Directed by Peter Yates; screenplay by Peter Benchley and Tracy Keenan Wynn, based on the novel by Benchley; director of photography, Christopher Challis; edited by David Berlatsky; music by John Barry; production designer, Anthony Masters; produced by Peter Guber; released by Columbia Pictures.
Starring Robert Shaw (Romer Treece), Jacqueline Bisset (Gail Berke), Nick Nolte (David Sanders), Louis Gossett Jr. (Henri Cloche), Eli Wallach (Adam Coffin), Dick Anthony Williams (Slake), Earl Maynard (Ronald), Bob Minor (Wiley), Teddy Tucker (the harbor master), Robert Tessier (Kevin) and Lee McClain (Johnson).