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There’s a lot of pressure on Adrian Lyne’s “Deep Water,” a film that was essentially dumped onto Hulu after Disney purchased Fox and decided it didn’t want a movie about horny people on its streaming service. As a result, some corners of the internet have been anticipating this project as a return to “movies for adults,” a genre that has unquestionably disappeared from the studio production line now that nearly every film must be rated PG-13. The fact that it is the first film from the director of “Fatal Attraction” and “9 12 Weeks” in two decades sets a high bar for the film that could lead to disappointment if it does not meet expectations. Whether or not “Deep Water” will be forgiven for some of the storytelling bumps in the film, it will serve as further evidence that the subgenre has reached its creative nirvana. Already, early reviews have been divided, and there’s no denying that some of this feels like it’s been through editing hell, particularly in the final act. This is a film that I’m looking forward to seeing in its rumored extended version because there’s a lot here that works, including a fantastic Ben Affleck performance and the kind of sexual tension that Americans simply don’t provide in the twenty-first century.
‘Deep Water’ is based on the 1957 novel by Patricia Highsmith, the genius who also wrote Strangers on a Train and The Talented Mr. Ripley, which should give you some idea of the games being played here. The film doesn’t waste time with the “happy days” of the Van Allen union, which should give you some idea of what is going on here. Vic Van Allen (Affleck) and his wife Melinda (Ana de Armas) are introduced to us as they are in the throes of a failed partnership. It appears that they have remained together, ostensibly for the sake of their daughter Trixie (Grace Jenkins), but it appears that there is little love left between the couple. It is at a party that Melinda becomes extremely inebriated and flirts with a handsome young man who she had personally invited to the gathering that the first extended scene takes place. Vic confesses to the new beau, during a private moment together, that he murdered Melinda’s previous lover, who has gone missing. Is he playing a joke on us? Even though he claims to be, the basic machination of the script by Zach Helm (“Stranger Than Fiction”) and Sam Levinson (“Euphoria”) has already been set in motion: Melinda cheats, and it’s possible that Vic kills the guys with whom Melinda cheats, according to the script.
That’s certainly what Don Wilson (Tracy Letts) believes is taking place, and the fact that he is the driving force behind the plot is a flaw that Helm & Levinson don’t spend nearly enough time highlighting. What is it about this man’s theory that Vic is a murderer that he is devoting so much time and money to? The only reason he’s doing this could be because of a book, but there’s also an interesting beat where Don meets Vic and they get a little heated over how Van Allen made his money—the kind of drone technology that’s used in warfare. Vic has always regarded human life as disposable, hasn’t he? In “Deep Water,” there is an intriguing thematic undercurrent about two people who appear to be very different but who are both users—Melinda uses men for pleasure and to provoke her husband, and David uses men to provoke his wife. She explains at one point that she does it because of the way it makes her feel when she is around them. These are self-centered individuals, two people who succumb to their primal instincts in ways that most moral people would never do.
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Affleck captures the simmering selfishness of the character perfectly, demonstrating that he is an excellent fit for the world created by the author who gave us Tom Ripley. Vic’s temperature, which rises every time he sees Melinda with a new lover, including those played by Jacob Elordi and Finn Wittrock, is reminiscent of Affleck’s work in “Gone Girl,” and there are echoes of Affleck’s performance in that film. What is it about Vic that keeps him from giving up? The script, particularly in its final act, alluded to some darker themes that a longer version would almost certainly unpack more thoroughly, but Affleck and De Armas sell this psychosexual dysfunction in a way that other actors would have missed. Their physical beauty and sexual chemistry are expertly exploited on-screen, reminding viewers how infrequently such a thing occurs between major movie stars. I’d also like to mention that I’ve been enjoying how frequently Lil Rel Howery has been popping up lately and being so effective in such small roles (he’s also appeared in two SXSW films this year, “I Love My Dad” and “Spin Me Round”). He’s quickly establishing himself as a valuable asset for those looking to play a skeptical supporting role.
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“Deep Water” had done enough to win me over prior to the abrupt, choppy ending (which included a ridiculous choice for the closing credits), and I suspect that many others will feel the same way about it. What we’re looking at here is a truly vicious piece of work, created by a filmmaker who is unafraid to show us what’s underneath the surface, the primal, darker sides of the people who appear to be so beautiful. It may not be the triumphant return that Lyne’s fans had hoped for, but it serves as a timely reminder that films of this caliber can still be made in modern times. Even if it isn’t possible to do so tomorrow.
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Today’s episode is available on Hulu.
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