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Terence Rattigan’s 60-year-old drama, The Deep Blue Sea, might seem an unlikely source for a new movie about the destructive power of love, but another Terence, Terence Davies, is no ordinary filmmaker. He’s been exhibiting an elegist’s refining consideration of the play’s post-World War Two setting for some time. The era in which he grew up, the 1950s, has a hold on Davies’s imagination, as he’s shown in such self-referential movies as The Long Day Closes.
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What have we here but another visit from my old nemesis, the film that cannot be discussed without giving away more than a conscientious reviewer should. For those of you who, like me, prefer to know as little as possible about a movie before seeing it, I will try to provide a minimal synopsis, followed by a paragraph you should skip.
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