Rachel Weisz

The video released on YouTube several days ago by a group of amateur filmmakers in Hong Kong is the first of what will surely be many dramatizations of the Snowden saga. Paced like a thriller, it features the requisite pounding music and a few brisk shots of city skylines. It makes reliable use of cinematic details such as the Rubik’s cube that Snowden allegedly used to identify himself to Greenwald.

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What does “deep blue” mean in this film, or in the Terence Rattigan play that has prompted a movie from Terrence Davies sixty years later? Deep blue is no small matter; it’s not just Miles Davis doing “Kind of Blue,” William Gass’s book On Being Blue, a nickname for IBM, or Lucian Freud’s painting, “Man in a Blue Scarf.” Four out of ten people name blue as their favorite color. So I have always wanted more from The Deep Blue Sea than it ever delivers. Rattigan was the leading English playwright during the war and into the early 1950s, before the disruptions of John Osborne and Harold Pinter.

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Page Eight gives every sign of being a momentous television event. It is a debut outing for “Masterpiece Contemporary” on PBS. Some of the color photography, by Martin Ruhe, is exquisite but sinister—there’s a bruised sky against college masonry in Cambridge that escapes the usual proviso that television cannot be “beautiful” without seeming picturesque. The subject matter turns on such large issues as security, intelligence, Intelligence, honor, and love. The cast is so daunting it makes you keep an open mind about which characters are not to be trusted.

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