This Arrow Video 4K Ultra HD “Limited Edition” and Blu-ray “Limited Edition” will be available for purchase on March 18th.
Of course, when anyone is asked about their favorite killer shark movies, the title that immediately jumps to everyone’s mind is Jaws. The Steven Spielberg title is a classic and, for many, even considered one of the best American films ever made. The feature has spawned all sorts of imitators over the past 50 years, very few of which managed to make a lasting impression.
One of the rare exceptions is Deep Blue Sea. The movie, produced by Warner Bros. on a healthy budget and directed by action film veteran Renny Harlin (Die Hard 2, Cliffhanger, Cutthroat Island, The Long Kiss Goodnight), arrived on cinema screens at the end of the 1999 summer season. I went see it at theaters and had a blast, especially as it included a few memorable moments that garnered a massive reaction from the audience. Critical reception for the film was mixed, but as the years have passed, even more have come aboard to admit that the final product delivers thrills, excitement and a unique twist on the killer shark feature. In fact, most now consider it the second-best shark movie after Jaws (and maybe its first sequel).
Arrow Video is now releasing a 4K Ultra HD “Limited Edition” disc (as well as a “Limited Edition” Blu-ray) containing a 4K picture restoration from the original camera negative approved by director Harlin. I have the Warner Bros. Blu-ray of this title and can confirm an uptick in quality with this 4K presentation. While the original Blu-ray of the film was fine it its day, there is a sharpness to this new transfer that is immediately noticeable. In many shots on the old Blu-ray, the actor’s faces are softer and detail isn’t nearly as clear. This new version is another great upgrade that will please anyone who enjoys the movie. Please note that the images in this review are press photos and don’t accurately represent how great the movie looks.
For those who need a refresher, the story begins with obsessed scientist Dr. Susan McCallister (Saffron Burrows) conducting experiments on mako sharks to find a cure for Alzheimer’s disease. She believes using a protein complex from the brain of the mammals will reverse the effects of the condition. Aiding her at a remote underwater facility is her scientific team (Stellan Skarsgard, Jacqueline McKenzie) as well as shark wrangler Carter Blake (Thomas Jane), engineer Tom Scoggins (Michael Rappaport), tower operator Brenda Kerns (Aida Turturro) and cook Sherman “Preacher” Dudley (LL Cool J).
When wealthy investor Russell Franklin (Samuel L. Jackson) arrives ready to shut the project down if results aren’t shown, it becomes clear that McCallister has been rushing and conducting illegal experiments to get proof of her thesis. This includes the engineering of three genetically enhanced “smart” sharks. After a tragic accident floods the facility, the escaped ocean predators go on the rampage.
Yes, it’s all a bit silly as the brainy fishes turn the tables on the humans and pick them off one by one, but boy is it a lot of fun to watch. The excellent cast help sell the material, the effects (in particularly, the animatronic sharks used in close contact with the characters) and action scenes are expertly shot and put-together. Sequences involving the leads being hunted and attacked through flooded passageways, kitchens and other environments are exciting and frequently climax in a memorable fashion. This is because the script often twists expectations. Most bits end with a big laugh or an unexpected shock. It’s an exceptional action film that makes the most of its concept.
This release comes with all of the great material from previous releases, as well as some new, fantastic bonuses. As far as the older material goes, there’s a super commentary from Renny Harlin and Samuel L. Jackson. They talk about what drew them to the screenplay. Harlin was excited to make the movie, but concerned about inevitable comparisons to Jaws. After thinking about it, he realized that the scientifically enhanced sharks and recent filmmaking advances allowed for different approaches and new ways to deliver action to viewers. Jackson notes that the script he received featured two kitchen cooks. He was more interested in the businessman and adventurer and Harlin agreed. Those who have seen the movie know of the character’s memorable fate, which also made the role memorable. Overall, it’s an enjoyable track that goes into the difficulties in shooting a story based in and around water.
There is also an archival making-of featurette on the production, deleted scenes with optional commentary from Harlin and tons of publicity materials. The scenes that were edited out offer more character-building moments and extended conversations between character that the director felt were unnecessary or could be trimmed down for pacing, and, while interesting, he was right to do so.
The new features are also enjoyable. There is a new film commentary from shark movie authority Rebekah McKendry who explains her love of the feature (and subgenre in general) and all of the fun new elements this title presented. It’s an adoring track but a diverting one that presents solid arguments on how this picture tops other shark and similarly-themed movies of its era (like the Shark Attack series, Open Water and 1999 killer alligator film Lake Placid). She also laments that this turn of animal attack movies quickly vanished and that shark pictures wouldn’t make a major cinematic comeback until The Shallows in 2016 and 2018’s The Meg.
Additionally, this release comes with an interview with production designer William Sandell, who talks about his career in Hollywood, doing the art direction for movies like Robocop and Total Recall, and how he ended up working on Deep Blue Sea. Apparently, there was an issue with the original person hired for the job (who couldn’t meet deadlines). Sandell details arriving on set in Mexico, inspiring the crew, adding some ideas and helping them to complete the job in time for shooting. He is another great storyteller, who gives a great sense of all the elements required in creating new world for various films.
There is also a visual essay on the movie that is actually a little more negative than one would expect. The speaker complains about a change to the original ending in which the fate of the McCallister character is different. They hint at a misogynist tone, noting the scientist’s end, the cook’s religious beliefs, as well as making references to the facility’s “womblike” underground. I had no idea a small section of viewers took issue with these elements and it comes across as a bit of a stretch, but the point-of-view is intriguing to hear.
The major highlight of new material is the commentary track by screenwriter Duncan Kennedy. It’s one of the better commentaries this reviewer has heard in quite a while. The Australian goes into fantastic detail about writing in the film and in the process gives the practical reasons behind changes to the script, which address most of the criticisms levied at the movie.
He talks about his interest in sharks, which began at a young age after seeing the results of a shark attack at a beach and suffering nightmares for years afterward (some of which were incorporated into this tale). He came to admire the animals and study as much as he could about them. As a young movie set dresser in his 20s, he decided to write a shark-related script, which became part of a bidding war and was sold quickly. He mentions that he did seven rewrites before others were brought in to add their ideas. Kennedy says that this was all fine, and the producer continued to send him drafts and ask for input throughout. He was even invited and came to the set to witness some of the shooting.
Kennedy is pretty blunt and honest about his work, and provides enlightening details. Essentially, he states his original draft was dense and simply had too much in it. Too many characters, too many subplots and, in the process of streamlining, characters were merged and elements were dropped. Many expensive outdoor scenes were also moved inside to help lower production costs and create a sense of claustrophobia.
As written, the villain of the piece was a one-note mad scientist who died early, and the writer was asked to combine this male character with the main love interest in order to extend the role and give the antagonist some human traits. McCallister admits that as a result the potential romance introduced doesn’t go anywhere (which McKendry from the other commentary track actually enjoys about the movie).
While McCallister did survive as the final script went into production, the writer understands the changes at the end. While more positive traits were added to the part, the character was still committing illegal acts, breaking moral and ethical rules of science, threatening others on the job and causing the deaths of those around her. A last-minute change was too late in the game for audiences to change views, and so the shark was made to hand out justice to its Dr. Frankenstein-esque maker and notes that problems with this aspect are likely due to his inexperience as a writer.
Kennedy also mentions the popularity of the cook Sherman “Preacher” Dudley and comments that the part was simply an homage to Gene Hackman’s heroic no-nonsense preacher in The Poseidon Adventure, a disaster movie he enjoyed as a kid.
The writer goes through the full process of creating the script and how it evolved, also complimenting director Harlin for shooting the shark action in exceptional ways. He also points out some of the humor in the background of the movie (now clearly visible with the new transfer), including the many funny Finnish references made by the Riihimäki-borndirector.
Another great bit of trivia… the writer was obviously a fan of the Jaws series and the deaths of the mako sharks in Deep Blue Sea actually mirror the ends of the killer fish in the franchise’s first three films.
While changes were made to what he originally conceived, Kennedy thinks many alterations helped the picture and is happy with the final product. He’s pleased that it did well and still has a large following 25 years later.
Those who pick up either of these “Limited Editions” will also receive a 60-page book containing new writing on the picture by multiple critics, previously unseen production art and designs. A double-sided fold-out poster with original and newly commissioned artwork is also in the package, as well as postcards with images from the film.
I still greatly enjoy Deep Blue Sea as a fantastic piece of adventure cinema with memorable characters, some thrilling action, a few unexpected twists and a couple of “wow” moments that still hold up today. It’s entertainment with a capital “E” and I agree that it is the best killer shark movie without the word Jaws in the title. The Arrow Video “Limited Edition” 4K Ultra HD set offers a wonderful picture upgrade with amazing extras that will thrill anyone who is a fan of the movie. This is another phenomenal release.