Although it has its amusing moments, in eneral the plot does not convince.

It really made me laugh, but for some moments I was tearing up because I could relate so much.

This is a dark and sometimes deeply uncomfortable drama

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

15-year-old Mike takes a job at the local swimming baths, where he becomes obsessed with an attractive young woman, Susan, who works there as an attendant. Although Susan has a fiancé, Mike does his best to sabotage the relationship, to the extent of stalking both her and her fiancé. Mike becomes increasingly desperate to have Susan for himself, with tragic results. A boring 70's forgettable film starring a bunch of untalented actors in horrible roles that make for a horrible and even more forgettable set of perfomances in the end. (0/10)

I assumed this was a foreign film I found listed in the book 1001 Movies You Must See Before You Die, it was directed by Polish director Jerzy Skolimowski, but it had elements of West German production, but it is a certainly a British set story, and one that sounded interesting. Basically fifteen year old Michael 'Mike' (John Moulder-Brown) has just left school, and finds himself a job at the local swimming pool and public baths, being trained by Susan (BAFTA nominated Jane Asher) who is ten years older than him but he cannot help but find her attractive. He finds that working at the bathhouse has more than just cleaning going on, he is being tipped to provide more services to clients of a more sexual nature, this includes his first lady client (Diana Dors) who is stimulated pushing his face into her bosom and talking about football suggestively, Susan explains that this tipping is normal practice, and that many of the clients ask for the opposite sex for their tips. Mike falls for Susan, despite the fact that she has a fiancé (Christopher Sandford), there is a night when he follows them into the cinema and an adult movie, sitting behind them and him touching her breasts, the fiancé goes to tell the manager and the police are maybe going to question him, but Susan kisses him and is amused, she and the fiancé do not press charges, the police instead allege a minor being allowed into an X rated movie, and the fiancé tries to get revenge before the police intrude. Mike later finds out that Susan is cheating on her fiancé with a swimming instructor (Karl Michael Vogler), who was also Mike's former physical eduction teacher, in jealous anger Mike breaks a fire alarm and cuts his hand, and he is curious to see what is going on between her and the fiancé. So one night he goes to the club he heard she would be, he avoids being spotted and hangs around the erotic area, buying many hot dogs from the salesman (Burt Kwouk), but also he finds a cardboard cutout of a girl, and it looms just like Susan, so he steals it, and hides with leg cast wearing prostitute Beata (Louise Martini) until the coast is clear, and eventually after ages of waiting he confronts Susan on the underground, she neither confirms or denies the image is of her exposing herself. Following a night where Mike swims naked in the swimming pool, with the cardboard cutout, he is angry again and blows the P.E. teacher's car tyres with broken glass, Susan confronts him and they talk in the park, but when she slaps him her diamond from her engagement rings falls into the snow, so he helps her by scooping the area of snow it would have dropped into plastic bags. They take the snow to the public baths, and with the swimming pool drained he lowers the ceiling lamp to use for electricity to connect a kettle and melt the snow, while he continues the melting in the empty pool, she makes the P.E. teacher walk away upset, not just because of the punctured car tyres, but she says that she borrowed the car keys and lost them as well. Mike finds the diamond, and lies naked in the empty swimming pool holding the stone on his tongue, she is given back the diamond and is about to leave, but she undresses as well and lies with him, they talk and make amends, she tries to leave but Mike wants her to stay, unaware they are there the attendant starts filling the swimming pool, and in anger at her trying to leave Mike hits Susan with the lamp in the back of the head, she falls unconscious into the water, he embraces her while they are still naked. I agree with critics, this is one of the strangest films that was made during the Swinging Sixties, it incorporates many of the aspects of the period, especially with the sexuality of the characters, the setting of the dank and grotty bath house is interesting, the acting is as good as you can get, there are some good funny moments, especially during the constant hot dog buying scene, but also the dark and surreal stuff to, but it is all of it's time and a watchable drama. Very good!

What starts out as a tender coming-of-age story devolves into a story of sexual obsession and missed connections in "Deep End." The story has bicycle riding teenager Mike starting his first job at a run-down public bathhouse which caters to both men and women. There is also an Olympic sized pool in the facility, which is utilized by scores of teenage girls. Mike's pretty but jaded coworker Susan is on hand to show him the ropes, and soon their mild flirtation begins to prompt Mike into increasingly bizarre stalker behavior.The cinematography here is outstanding, with every stain, crack and spot of dirt in the grimy bathhouse evident. It certainly appears to be a place where any sensible person would hesitate to walk barefoot through, and the sets are loaded with strange signage and bizarre props. The exterior locations are expertly filmed also, and give a great impression of the U.K. at the end of the 1960's.The acting of the two young leads is top-notch and utterly believable at all turns, with John Moulder-Brown especially likable and appealing. And certainly special mention must be made to former glamor girl Diana Dors as a blowzy blond bathhouse patron with a sexual fixation on football. She holds nothing back in her cameo appearance, and she's fantastic in the limited screen time devoted to her physically aggressive and domineering character.Some objection could be made to the somewhat speedy manner in which Mike's character transforms from nice teenager into obsessed stalker. Some of this didn't seem too believable, although Asher as Susan is beautiful enough to almost make it work. Mike begins the film as such a sweet young guy who's concerned about his future and his family, that's it's almost unfathomable as to why he'd go off the "deep end" like he does.*** out of *****

I first saw "Deep End" shortly after its release, it played at the base theater during my Air Force days. Films on base ran for only one day (three shows) and this was one of a handful that drew capacity crowds to the later shows due to "word of mouth" praise by those who attended the first screening. I finally got the opportunity to view it again last week and was not disappointed. About all I recalled from my long ago first viewing was the Jane Asher full-size cardboard stand-up and the color red. Meaning that director Jerzy Skolimowski managed to create some powerful imagery that stayed in my mind over all those years, which is more than I can say for a lot of films. My association of the color red now makes perfect sense as that was obviously the imagery that Skolimowski meant to drill into each viewer's mind. From Asher's red hair (in the film itself and in the promotional poster where it trails off into blood), to the new color being painted on the walls of the bathhouse, to the blood that punctuates certain climatic moments in the story.Skolimowski was Polanski's screenwriter for "Knife In the Water" and stylistically "Deep End" has a Polanski flavor (it certainly has its "Repulsion" moments). I was also reminded of a Judy Geeson film from about the same time "Goodbye Gemini" (1970); a London setting and a doomed pair of mismatched lovers. If you are looking for a more useful comparison think of a bizarre marriage of "The Summer of 42" (1971) and "Play Misty For Me" (1971). But "Deep End" is too grounded to be overwrought; its romantic obsession - coming of age story rings surprisingly true. Probably because the gritty is evenly blended with the abstract in a storyline that nicely cuts between accidental and destined. Just out of school, 15 year-old Mike (John Moulder-Brown) goes to work as the towel boy at a seedy London bath house. Asher plays Sue, an older co-worker who reveals that some of the clientèle are good for extra money in exchange for titillation in the private rooms. In an extraordinary scene an aging Diana Dors explores Mike's interest in football (soccer). Sue is a mega-tease; she is stringing along a rich fiancée, having regular private sessions with one of Mike's former teachers, servicing assorted clients at the baths, and getting her perverse kicks turning on Mike. Sue is not atypical in her level of irresponsibility and Mike is not atypical in his level of naiveté. Stuff like this plays out everyday. But Mike's obsession begins to get a bit twisted when he first realizes that Sue and his former teacher have a relationship. And Skolimowski goes from broken mirror to ripped poster to broken glass to blood; substituting visual images for overwrought melodrama. Glass (mirror, fire alarm, diamond, light bulb) substitutes for Mike's fragile psyche and distorted perception, pictures (the PSA poster on the bulletin board and the cut-out girl Mike steals) substitute for a normal boy-girl relationship, and paint and hair substitute for blood. "Deep End" is a film in motion, it never slows down and its scene transitions run from excellent to lame. I don't remember the theatrical showing well enough to say whether the version I just watched was intact. But I suspect that it has been hacked up and trimmed, which would explain the more inexplicable scene transitions. There is some support for this notion in that it has been converted into a 4-3 aspect ratio and has lost all the end credits except a few bars of the same Cat Stevens song that ran over the opening titles. If it ever gets a DVD release I hope they can find a better example to digitize. The best way to understand it is to be open to the interplay of Skolimowski's images, these provide the texture of his film. The story may appear to be being told from Mike's point of view but it is the texture that allows the viewer to go beneath the surface of the deep end and to see the dance between love and death. Then again, what do I know? I'm only a child.