Patricia Highsmith’s novels don’t generally make for good movies, and that rule holds true with the 2022 Hulu production DEEP WATER. An adaptation of Highsmith’s similarly titled 1958 novel, it’s the first film in twenty years to be directed by Adrian Lyne, who remains best known for FLASHDANCE and FATAL ATTRACTION, movies that demonstrate a certain lack of nuance and subtlety. Their lack is a definite problem here, as Highsmith’s novel, like most of her work, relied on psychological complexity that’s difficult to translate to the screen (it’s the reason Alfred Hitchcock, in adapting Highsmith’s STRANGERS ON A TRAIN, had to jettison one of the two murders that power the story).
Highsmith’s novel, like most of her work, relied on psychological complexity that’s difficult to translate to the screen
Blunt misogyny was another Highsmith trademark aired in DEEP WATER. A lifelong lesbian, Highsmith had a “can’t live with ‘em, can’t kill ‘em” attitude toward the fairer sex akin to that of a womanizing male (it’s not for nothing that one of her books is titled LITTLE TALES OF MISOGYNY). The female lead of DEEP WATER is among her most corrosive creations, and, for that matter, one of the least sympathetic female characters in history.
The female lead of DEEP WATER is among her most corrosive creations, and, for that matter, one of the least sympathetic female characters in history.
That woman, Melinda, is incarnated onscreen by Ana de Armas, and her husband Vic by Ben Affleck. He’s a retired web designer who cultivates snails (in tribute to Highsmith, a lifelong snail lover) and blithely allows Melinda to screw around on him. After learning that one of her former flings has been murdered, Vic decides to take credit for the killing, which helps drive Melinda’s latest lover, a young musician named Joel, away. Her next affair is with the suave piano teacher Charlie, a tryst Vic surreptitiously arranges himself, only to become consumed by jealousy and, during a late night pool party, turn his claims of being a murderer into a reality.
There was a bit more to Vic’s actions in the novel, but screenwriters Zach Helm and Sam Levinson were unable to convey the delicate balance of complacency, timidity and resentment presented by Highsmith. There’s also the fact that, frankly, Affleck isn’t a skilled enough actor to pull off such a nuanced character, with his Vic coming off as such a temperamental nut it’s unfathomable that none of his upper middle-class acquaintances are able to figure out that he has homicidal tendencies.
Blunt misogyny was another Highsmith trademark aired in DEEP WATER.
As Melinda Ana de Armas fares slightly better than Affleck. I think it goes without saying that Armas (best known for her roles in BLADE RUNNER 2049 and KNIVES OUT) has a sexy and engaging screen presence, and is given extremely flattering visual treatment by Lyne and cinematographer Eigil Bryld–ensuring there’s at least one reason Vic insists on staying with her. Why this gorgeous and vivacious young woman stays with Vic, alas, even after she figures out his true nature, is harder to fathom (unlike the novel, where Melinda’s primary goal was, simply, to do her hubbie in).
That Adrien Lyne hadn’t directed a film in twenty years prior to DEEP WATER is evident in the many poor, and sometimes downright bizarre, choices he makes. The use of Vic’s snails as visual metaphors for the behavior of the human characters (the apparent aim of Lyne’s frequent snail-human intercutting) is questionable, as is a climactic forest chase (which wasn’t in the novel) involving a suspicious neighbor (Tracy Letts) driving a car being pursued by Vic, who’s riding a bike(!). So too the presentation of the young Grace Jenkins, who plays Vic and Melinda’s daughter, and seems to have sent Lyne’s cuteness meter into overdrive, with endless shots of Jenkins mugging, and for some reason singing a lengthy children’s song over the end credits.
That Adrien Lyne hadn’t directed a film in twenty years prior to DEEP WATER is evident in the many poor, and sometimes downright bizarre, choices he makes.
On the plus side, this is a rare Adrien Lyne movie that doesn’t feel like an extended TV commercial or music video. The diffusion-heavy, smoke-filled interiors of his earlier films are nowhere to be seen in DEEP WATER, which has a fine naturalistic veneer and a retinue of solid supporting performances (with Letts and Kristen Connolly as his confused wife being the standouts). There’s also the fact that Highsmith’s novel was previously adapted by the French filmmaker Michel Deville, in the 1981 Isabelle Huppert vehicle EAUX PROFONDES, and he didn’t pull it off, either.
Vital Statistics
DEEP WATER
20th Century Studios/Regency Enterprises/Hulu
Director: Adrien Lyne
Producers: Arnon Milchan, Guymon Casady, Benjamin Forkner, Anthony Katagas
Screenplay: Zach Helm, Sam Levinson
(Based on a novel by Patricia Highsmith)
Cinematography: Eigil Bryld
Editing: Tim Squyres, Andrew Mondshein
Cast: Ben Affleck, Ana de Armas, Tracy Letts, Grace Jenkins, Dash Mihok, Rachel Blanchard, Kristen Connolly, Jacob Elordi, Lil Rel Howery, Brendan C. Miller, Jade Fernandez, Finn Wittrock, Michael Braun, Devyn A. Tyler, Michael Scialabba, Jeff Pope, Paul Teal, Juliet Brett