[11] John's premonitions merge with the present, such as at the start of the film where the mysterious red-coated figure is seemingly depicted in one of his photographic slides, and when he 'sees' Laura on the funeral barge with the sisters and mistakenly believes he is seeing the present, but in fact it is a vision of the future. That all these disparate qualities are woven together so seamlessly is partly a miracle of cutting, so one must give proper credit to the film’s editor, Graeme Clifford. [15], Communication is a theme that runs through much of Nicolas Roeg's work, and figures heavily in Don't Look Now. Donaggio claims that since he was not very good at playing the piano, the pieces had an unsure style to them, perfect for the effect they were trying to capture. Last Updated Mar 14th, 2021 at 5:06 pm. Illustrated | iStock. [65] In 2012 Time Out also undertook a poll of the horror industry, in which more than 100 professionals who work within or have connections to the genre selected their favourite horror films, which saw Don't Look Now finish in twelfth position. Don’t Look Now is many things: terrifying, poignant, mysterious, sexy, tragic. The scene caused problems with censors on both sides of the Atlantic. He corners the elusive figure in a deserted palazzo and approaches it, believing it to be a child. In the meantime the police have brought Heather in for questioning, so an apologetic John offers to escort her back to the hotel. Don’t Look Now does many notable things with its visual scheme. For the short story by Daphne du Maurier from which it is adapted and the collection it appears in, see. Christie liked the script and was keen to work with Roeg, who had served as cinematographer on Fahrenheit 451, Far from the Madding Crowd and Petulia in which she had starred. Sutherland ended up doing it instead, and was attached to a kirby wire as a precaution in case he should fall. Share Tweet . [30] Nicolas Roeg and editor Graeme Clifford showed the opening sequence to some friends before filming resumed on the Venice segment, and Clifford recalls it making a considerable impression. In addition to the "Death in Venice" and "Looking Back" featurettes which accompanied earlier editions, there is a conversation between editor Graeme Clifford and film writer Bobbie O’Steen, an essay by film critic David Thomson and a Q&A with Roeg at London’s Ciné Lumière from 2003. [12], Much has been made of the fragmented editing of Don't Look Now, and Nicolas Roeg's work in general. Donald Sutherland (Klute) and Julie Christie (Darling) mesmerize as a married couple on an extended trip to Venice following a family tragedy.While in that elegantly decaying city, they have a series of inexplicable, terrifying, and increasingly dangerous experiences. [4][8] After John is attacked by his assailant in the climactic moments, the preceding events depicted during the course of the film are recalled through flashback, which may be perceived as his life flashing before his eyes. 03, 2021 3:54 PM ET ALPS Medical Breakthroughs … British tabloid newspaper, the Daily Mail, observed at the time "one of the frankest love scenes ever to be filmed is likely to plunge lovely Julie Christie into the biggest censorship row since Last Tango in Paris". He felt it was handled too negatively and believed that Don't Look Now should be a more "educative film", and that the "characters should in some way benefit from ESP and not be destroyed by it". Politico: Don't look now, but this progressive demand is DOA among Senate Dems. In the 2007 stage play of Don't Look Now, written by Nell Leyshon and directed by Lucy Bailey, the play made a conscious effort to bypass the film and be a faithful adaptation of du Maurier's short story, but it did however retain the iconic red mac from the film as worn by the elusive childlike figure. [21] The film was not received well by Venetians, particularly the councillors who were afraid it would scare away tourists. Share . [63] A survey of 1000 people who work across the film and television industry, undertaken by the British Film Institute in 1999, saw the film ranked eighth on their list of top 100 British films of the 20th century. NOTE: The following essay contains spoilers. [50] On completion of the restoration in 2001, the film was given another theatrical release. [66], Don't Look Now has been much admired by and an influence on subsequent filmmakers. In his book, Infamous Players: A Tale of Movies, the Mob, (and Sex), Bart says he was on set on the day the scene was filmed and could clearly see Sutherland's penis "moving in and out of" Christie. Roeg was resistant to any changes and issued Sutherland an ultimatum. [11] The two films have thematic similarities, and both end with their protagonists being led to preordained fates by a 'child' they believe to be helping. [13] The most famous use of this fragmented approach to time is during the love scene, in which the scenes of John and Laura having sex are intercut with scenes of them dressing afterwards to go out to dinner. Some time after the film had come out, renowned stunt co-ordinator Vic Armstrong commented to Sutherland that the wire was not designed for that purpose, and the twirling around caused by holding on to the rope would have damaged the wire to the extent that it would have snapped if Sutherland had let go. As well as composing the score, Donaggio performed a substantial portion of it himself. [57] Pauline Kael writing for The New Yorker was more reserved in her praise, considering the film to be "the fanciest, most carefully assembled enigma yet put on the screen" but that there was a "distasteful clamminess about the picture",[25] while Gordon Gow of Films and Filming felt that it fell short of the aspirations of Nicolas Roeg's previous two films, Performance and Walkabout, but it was nevertheless a thriller of some depth. Whilst John finds comfort in the restoration of an ancient gothic church, his wife befriends two mysterious sisters, one of whom is blind and claims to have the psychic ability to communicate with their dead child. [20], The Venice locations included the Hotel Gabrielli Sandwirth—the lobby and exteriors standing in for the film's fictional Europa Hotel, although the Baxters' suite was located at the Bauer Grunwald (which better accommodated the cameras)—and the San Nicolò dei Mendicoli (the Church of St. Nicholas of the Beggars), located on the outskirts of Venice. Venice turned out to be a difficult place to film in, mainly due to the tides which caused problems with the continuity and transporting equipment. Donaggio conceded that the more low-key theme worked better in the sequence and ditched the high strings orchestral piece, reworking it for the funeral scene at the end of the film. [23] The fleeting glimpses of the mysterious red-coated figure possibly draw on Proust: in Remembrance of Things Past, while in Venice, the narrator catches sight of a red gown in the distance which brings back painful memories of his lost love. The American censor advised Nicolas Roeg explicitly, saying, "We cannot see humping. 508 likes. ‎Don't Look Now (1973) directed by Nicolas Roeg • Reviews, film + … [62] It was ranked 127th by Sight & Sound in the 2012 edition of their decennial critics poll. I just thought that it was a beautifully shot, really adult look at real-life horror stories, and there was a great degree of sexuality in it that, as a young kid, when I saw it, I remember I was very startled by. [8][9][10] Du Maurier's story actually opens in Venice following Christine's death from meningitis, but the decision was taken to change the cause of death to drowning and to include a prologue to exploit the water motif. The 2006 James Bond film, Casino Royale contains a small homage where James Bond pursues a female character through Venice, catching glimpses of her through the crowds wearing a red dress. [30] Renato Scarpa was cast as Inspector Longhi, despite not being able to speak English and so he had no idea what he was saying in the film. Don't Look Now [Criterion Collection] [2 Discs] [DVD] [1973] - Best … It just doesn’t matter if MrCompensatingForStuff9238164 from the Twitterverse calls Lamar Jackson a running back. Flatliners, a 1990 supernatural thriller directed by Joel Schumacher, also draws explicitly on the red-coated childlike figure by having a character terrorised by a child wearing a red coat;[84] coincidentally, the character who is being tormented is played by Kiefer Sutherland, Donald Sutherland's son. Parity! Don't Look Now review – Roeg's scary movie can still make you … [74] Thematic and narrative similarities with Lars von Trier's Antichrist have also been observed,[75] with Antichrist's cinematographer, Anthony Dod Mantle, commenting that he has watched Don't Look Now more times than any other film. "[4] American critics were similarly impressed with Roeg's work on the film. [25] Even Vincent Canby, whose opinion of the film was negative overall, praised Roeg for being able to "maintain a sense of menace long after the screenplay has any right to expect it". Let us know what you think in the comments below. Don't Look Now | Out Now After the tragic death of their daughter, John and Laura Baxter decide to work and recover in Venice. [36] Donaggio's score later achieved newfound recognition for its inclusion in the fourth episode of HBO series Euphoria; music supervisor Jen Malone noted that the cues used were the most difficult to obtain out of all of the music used in the series. Shortly after, John is nearly killed in an accident at the church when the scaffolding collapses, and he interprets this as the "danger" that was foretold by the sisters. [31], Roeg wanted Julie Christie to attend a séance prior to filming. [31] Shooting the sequence was particularly problematic: Sharon Williams, who played Christine, became hysterical when submersed in the pond, despite the rehearsals at the swimming pool going well. [8], Besides Proust, other possible literary influences include Borges and Nietzsche; Pauline Kael in her review comments that "Roeg comes closer to getting Borges on the screen than those who have tried it directly",[25] while Mark Sanderson in his BFI Modern Classics essay on the film, finds parallels with Nietzsche's Beyond Good and Evil. Leslie Flint, a direct voice medium based in Notting Hill, invited them to attend a session which he was holding for some American parapsychologists, who were coming over to observe him. I can still recall emerging from the experience elated and also in something like a state of shock. [27], Don't Look Now was produced through London-based Casey Productions and Rome-based Eldorado Films, by producer Peter Katz and executive producer Anthony B. Instead, it is revealed to be a hideous female dwarf, and while John is frozen in terror the dwarf pulls out a meat cleaver and cuts his throat. Julie Christie was supposed to wear a veil to hide her face, but prior to filming Roeg suggested to Christie that she should play it without the veil and smile throughout the scene. [17] Women are presented as better at communicating than men: besides the clairvoyant being female, it is Laura who stays in regular contact with their son, Johnny;[18] when the Baxters receive a phone call informing them of Johnny's accident at the boarding school, the headmaster's inarticulateness in explaining the situation causes his wife to intercept and explain instead. "[58], British critics were especially enthusiastic about Nicolas Roeg's direction. NYT: Don't look now, but Democrats *still* have a working-class problem NYT: Don't look now, but Democrats *still* have a working-class problem. The husband at first dismisses their claims, but starts to experience mysterious sightings himself. Roeg decided not to use traditional tourist locations to purposefully avoid a travel documentary look. John catches a glimpse of what appears to be a small child (Adelina Poerio) wearing a red coat similar to the one Christine was wearing when she died. [36], At the 27th British Academy Film Awards, Anthony B. Richmond won for Best Cinematography, and Don't Look Now received further nominations in the Best Film, Direction, Actor, Actress, Sound Track and Film Editing categories. By Brett Phillips Apr 14, 2021, 6:45pm EDT Share this story. The famous intercutting technique used in the sex scene was used to similar effect in a sex scene featuring George Clooney and Jennifer Lopez. They encounter two sisters, one of whom claims to be clairvoyant and informs them that their daughter is trying to contact them and warn them of danger. Unger. [33][34], Filming the scene in which John almost falls to his death while restoring the mosaic in San Nicolò church was also beset by problems, and resulted in Donald Sutherland's life being put in danger. Tweet . [63], Don't Look Now is also very well regarded by other industry professionals, placing in the top 100 on Sight & Sound's directors poll, run in tandem with their critics poll. [21] When John reports Laura's disappearance to the Italian police he inadvertently becomes a suspect in the murder case they are investigating—an innocent man being wrongly accused and pursued by the authorities is a common Hitchcock trait. [16] This is best exemplified by the blind psychic woman, Heather, who communicates with the dead, but it is presented in other ways: the language barriers are purposefully enhanced by the decision to not include subtitles translating the Italian dialogue into English, so the viewer experiences the same confusion as John. Don't Look Now is a Sheffield based collective that exists to promote new and exciting sounds through organising events in intimate spaces with good vibes! [10] The aural match cut following Christine's death from Laura's scream to the screech of a drill is reminiscent of a cut in The 39 Steps, when a woman's scream cuts to the whistle of a steam train. [97], Roeg frequently drew upon the world of pop music for his work, casting Mick Jagger in Performance, David Bowie in The Man Who Fell to Earth and Art Garfunkel in Bad Timing, and in turn his films have served as inspiration for musicians. (Winners and nominees search on title: Don't Look Now), "A Venezia... un dicembre rosso shocking (1973)", "The sexual power and terror that produced a classic", "The Diffusion of Giallo in Nicolas Roeg's 'Don't Look Now, "Labyrinthine 'Look' Is Back – Roeg's '73 thriller reprised at Castro", "Don't Look Now: No 3 best horror film of all time", "Forthcoming Peter Bart Book Answers Long-Simmering Question About Julie Christie Sex Scene", "Donald Sutherland Unequivocally Denies 'Don't Look Now' Sex (Again)", "Don't Look Now (1973) – The Criterion Collection", "Don't Look Now (1973) – Film:'Don't Look Now,' a Horror Tale:Donald Sutherland and Julie Christie in Leads The Cast Suspense Yarn Turns Into a Travelogue", British Academy of Film and Television Arts, "The Greatest Films Poll: Don't Look Now", "The 100 best horror films: the full list – 20–1", "Co-Creator Ryan Murphy Interview: American Horror Story", "Film favourites: Politicians to pop stars reveal the movies that changed their life", "The League of Gentlemen: A league of their own", "Don't Stop Screaming: The 'Glee' Guys Introduce Their 'American Horror Story, "VIFF: Antichrist: A pew in satan's church", "Cannes sensation Lynne Ramsay finds inspiration in her own family drama", "Flatliners (1990) Review/Film; Young Doctors Explore the Boundary Between Life and Death", "Story of the Scene: 'Don't Look Now' Nicolas Roeg (1973)", "Nicolas Roeg: 'I don't want to be ahead of my time, "David Cronenberg: 'My imagination is not a place of horror, "Ice queen: Sophie Ellis-Bextor, pop's coolest diva", "M83's 'America' Sample of Daycare Scene in Don't Look Now", https://en.wikipedia.org/w/index.php?title=Don%27t_Look_Now&oldid=1021549691, Films based on works by Daphne du Maurier, Articles containing Italian-language text, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 5 May 2021, at 09:49. 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