Deep End is a film about the awkwardness of transition and the disillusionment that inevitably follows a time of idealism. It was released in 1970, when the dying days of the Summer of Love were giving way to the cynicism of the 1970s; when the shift in the social mores of western society that had been championed in the 60s hit the brick wall of entrenched social conservatism; when people swept up in the promise of revolution finally had to face the reality of promises not kept.
Ancient sacred sites and secret government installations benefit from remote settings for a number of reasons. Suddenly the ancient English countryside is a patchwork of chain link fences, barbed wire, “No Trespassing” signs, mysterious aerials and satellite dishes and armed guards at checkpoints.
Born in the Dutch town of Utrecht, Sylvia Kristel grew up the daughter of hoteliers. Living in a hotel provided her with, if not exactly a conventional childhood, certainly an interesting one, as the rotating cast of oddball characters that show up at a hotel provided a surreal background.
Before there was Emmanuelle, there was Emmanuelle. Emmanuelle Arsan, to be slightly more precise. Marayat Rollet-Andriane to be even more precise still. Born Marayat Bibidh in January 1932, in the city of Bangkok, she was the real-life Emmanuelle.
A fairytale about a young girl attempting to navigate the many predators surrounding her becomes an allegory for the challenges of womanhood and the trials faced by then Czechoslovakia in the face of Soviet aggression.