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Pun intended, but The Deep is pretty damn low on my Barry depth chart. I could instantly list 30 JB scores I love, and then another 20 I regret not putting on the list. The Deep would not be one of those.
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I love that this title has, pun intended, surfaced again after all this time.
I listen to this score in it's complete entirety at least once a year. I still love it. The theme, the underwater music, with it's own sound, whether it's the mono score presentation or the stereo album presentation, it's such a mystical listening experience. That being said, the score isn't going to be liked by everyone. I am sure if the score were in stereo we'd also have fewer people nagging about it, but I think the most refined of music listeners will agree to it's merits, so there's no need to argue. [wink]
I also love the film. Those who saw it on home video formats need to remember that it was meant to be seen on a huge screen, where all the sea life that surrounds, the marine photography, is brisk, beautiful and ultimately lends itself to the notion that the Ocean in all it's beauty can also be deadly. The genius of Yates underwater direction, matched with Barry's score, and the vast openness of the sea, it really transports you. In addition, the scenes that take place in the RMS Rhone are claustrophobic and darkly lit, very suspenseful. Again, proposing that anything can happen. To audiences in 1977 this was a new technique in movie-going experiences. And yes, there was Jackie B.
Of course this is nothing to the forms of technology we have today. But in 1977, to have a film take place roughly half underwater, was a pretty big deal. The action of the scenes, the placing of the ammunition, the scraping of the ampules of morphine, the moray eel, and the final battle that is choreographed and takes place underwater were pretty sophisticated and done very well, when you look at what little experience came before.
I have a fool's hope that one day the complete score, with the alternate cues - will be available in STEREO. Be it from 35mm film stems or with the same kind of work that Matessino did on Williams' Dracula
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