Rachel Weisz is in Toronto too, to promote yet another new movie. I feel like she has half a dozen films coming out! This one is called The Deep, Blue Sea, and I’ll discuss it in a moment. Let’s talk about fashion first. Rachel wore Jason Wu, one of her favorite designers, to the Toronto premiere. Thoughts on the Wu? I feel like Rachel has problems with color. Sure, she looks amazing in red, but when she veers into blues, greys and greens, the shades tends wash her out? Doesn’t her skin look kind of weird here? But if you just showed me the dress, I would like it. I do love her makeup and her hair, though. All in all, not the worst look at all.

Rachel walked the red carpet with her costar, Tom Hiddleston. No Daniel Craig! BOO. Maybe they’re waiting for the Dream House premiere to walk the red carpet together. God, that will be so, so hot. I can’t wait. As for Tom – he seems kind of geeky and odd. Do you girls get hot for him? I can’t see it. As for the film, The Deep, Blue Sea is about a woman in her 40s (Weisz) who leaves her husband to embark on a torrid affair. Gee, art imitating life much? Here’s part of The Hollywood Reporter’s review:

So entirely immersive is Terence Davies’ desire to recreate and analyze the ethos of post-World War II Britain that not only has he fulfilled his ambition to refashion Terence Rattigan’s The Deep Blue Sea, but he has created a theoretical sequel to Noel Coward and David Lean’s Brief Encounter in the bargain. As intensely personal and deeply felt as it is, however, Davies’ attempt to breathe new life into Rattigan’s 1952 play is a rather bloodless, suffocating thing, lent tragic passion more by its use of Samuel Barber’s Violin Concerto than by anything achieved by his star Rachel Weisz and her leading man. Limited release in sophisticated world markets awaits.

The author of such well-carpentered post-war studies of English repression as The Winslow Boy, The Browning Version and Separate Tables, Rattigan passed out of fashion in the 1960s but, after his death in 1977, his reputation began a rebirth with Karel Reisz’s London revival of The Deep Blue Sea, which centers upon a woman, pushing past 40, who leaves her wealthy older husband for her first passionate relationship. The cast of the original London production was headed by Peggy Ashcroft, while Margaret Sullavan starred in the Broadway version in 1953 and, two years later, Vivien Leigh appeared in the somewhat sluggish but still involving first film version directed by Anatole Litvak.

In fact, the beginnings of the 1955 screen adaptation and this new one are virtually identical, crane shots that start on the street and move up and into the window of the modest rented flat of Hester Collyer (Weisz), who has just stated in voice-over that, “This time I really do want to die.” In the original, Hester is found, alive, after her suicide attempt but, here, we watch as she turns on the gas and waits for her misery to end.

Davies then flashes back to a scene that essentially recreates the ending of Brief Encounter; Hester sits, entirely bored, at home with her older husband, high court judge Sir William Collyer (Simon Russell Beale), as she silently wells while up thinking about her young lover, the dashing former RAF pilot Freddie Page (Tom Hiddleston).

As Hester recovers from her desperate act, she is tended to by neighbors, including a would-be doctor with a mysterious past, while summoning memories of her sexual awakening, leaving her caring but unexciting husband, putting up with Freddie’s emotional wavering and eventual decision to move on, and Hester’s consideration of another suicide attempt.

[From The Hollywood Reporter]

Basically, it’s a quiet period film, a throwback to the “women’s films” of the 1950s, and it’s kind of depressing. The film is getting mixed reviews. Here’s a scene:

Photos courtesy of WENN.