Deep Valley

lace comes from walking in the woods with her dog. Then one day she happens upon a convict work party and takes interest in one of them, Barry Burnette (Clark). He's free too... Off the bat you have to be warned that this is very slow going for the first two thirds - almost painfully so. So with the story hardly being compelling in the first instance, or credible of course, it's on shaky ground and becomes tough to recommend with confidence. However, there's plenty to enjoy as it plods along and the final third is well worth waiting for. The whole look of the piece is an atmospheric delight, McCord bringing some monochrome magic. The inside of the cottage is oppressive, director and cinematographer neatly marrying the visuals up to how Libby feels. Other scenes are pure visual treats, such as out in the barn as the sunlight shines through gaps in the wood to reveal a ghostly mist, or subtle shots like river ripples reflected onto Libby's face, there's enough tech skills on show to keep you interested. Add in yet another superb performance from Lupino and you should want to stay all the way here. Narratively it comes down to finding love under trying circumstance, and that of the big decisions we face in life. Libby is faced with a choice, the bad boy or safe boy conundrum rearing its potent head. It all builds to a finale of substance that tantalises the heart and head in equal measure. No great film by any stretch of the imagination, the tech credits better than the actual play itself, but it warrants respect and worth a viewing for sure. 6/10