Jay: Ray, Roger, and Mike have said pretty much all there is to say about THE DEEP, in its relatively rough recent condition, unless Stefan Droessler in Munich can hear our piteous calls. He told Baesen and me that he hoped to find additional soundtrack elements in other archives, but as it stood, I thought, once fully registered and processed, the film could make a moody Conradian thriller. Needed additionally was the always missing trademark Wellesian explosion and that underwater knife fight Ray mentions. And of course, continuity, which is where the Editor's magic always comes in. At the time THE DEEP was shot, the film might have made a memorable entertainment. [Sam Neil and Naomi Watts didn't do too badly with the original plot, a few years later.] But, today, there are dozens of such pictures out there. Just turn on the minor film channels any evening.
Ray's report on Droessler's public showing of the Welles' material reminds me how much more intriguing I found THE OTHER SIDE OF THE WIND assemblage than THE DEEP stuff. Yet, as Ray reports, Droessler was much higher on THE DEEP than he was TOSOTW. Still, "the screening room sequence" (which I recently posted on another thread) strikes me, at least, as containing a hint of unique Wellsian promise. It might well be, Ray, that Jake Hannaford's picture doesn't make any sense -- that may be the point of this fractured film within a film -- it's a running joke, a sendup of a portentous Antonioni film of the period, but in a crazy way, it threads the main plot together with the ongoing action . . . and, also, reveals the tragic truth eating away at old Director Hannaford, that he can't make that kind of film, which the fashionable critics of the 1970's were oohing and ahh-ing over.
With apologies for hijacking the thread, I ask you to take another look, guys: http://www.youtube.com/watch?v=ewC7f_RKTAQ
What do you think?