Nicolas Roeg’s Don’t Look Now once seemed radically new with its kaleidoscopic imagery, dreamlike editing, and willingness to let mystery be mysterious on several levels of reality/illusion—plus art-house darling Julie Christie in a long, nude love scene! Nowadays, this 1974 adaptation of a Daphne du Maurier ghost story looks almost classical. Following the drowning of their child in England, Laura (Christie) and John Baxter (Donald Sutherland) have come to dank, eternally dying Venice, where he is supervising the restoration of a moldering church and she is either slipping into or climbing out of madness with the help of a pair of creepy spinster sisters, one of whom can “see” even though blind. John may share this psychic power, though he resists accepting it as the canals fill with murder victims, surface realities turn shimmery as water, and a red-coated figure—the daughter’s ghost?—keeps flickering in the corner of our vision. Though surrealand perplexing, the film does eventually add up, and the ending remains a real throat-grabber. —Richard T. Jameson, Amazon
London-born Nicolas Roeg served in the military as a projectionist, and entered the movie industry immediately after World War II as a gofer and apprentice editor. He joined MGM’s British studios in 1950, and eventually became a cinematographer in 1959, working on a multitude of films of all types, from second unit work on Lawrence of Arabia (1962) to primary photography on the rock & roll exploitation films Just for Fun (1963), Every Day’s a Holiday (1965), and The System (1966). He moved into the director’s chair with Performance (1970), which he co-directed with Donald Cammell, and made a major impression with the low-keyed, eerily compelling drama Walkabout (1971). By the mid-‘70s, Roeg was one of England’s most respected filmmakers, responsible for the unsettling thriller Don’t Look Now (1973), and the sci-fi drama The Man Who Fell to Earth (1976). With the possible exception Insignificance (1985) and the compellingly obscure Track 29 (1988) Roeg’s output throughout the 1980s… read more
Mbah. Viene per una volta voglia di fare la beghina del Giallo nostrano e difenderlo a spada tratta, se solo non sapessi che il pubblico adulante è lo stesso. Un film con enormi falle logiche. E non parlo del finale incomprensibile che ci sta pure, ma dell'intero svolgimento. Un film invecchiato malissimo. Un film noioso come l'estenuante scena di sesso che ti fa rivalutare i più alimentari Pink Eiga.
This August in NYC, a program of six films influenced by the Master of Suspense by such directors as De Palma, Saul Bass and Fincher.
Also: Terrific new covers for forthcoming books.
To Christina Tilmann's best wishes in Der Tagesspiegel, we'll add ours.From Stephanie Zacharek's appreciation in Salon in 2001: "If every
"If there is one aspect of Susan Sontag's multifaceted life that has resisted enshrinement, it is her film career." In the Los Angeles Times
I don’t want to spoil how this movie ends, but even if I told you what happens in the last ten minutes, it would mean little to you. This film is not all about the ending, but rather the journey you… read review
Overall I really enjoyed Don’t Look Now, the amazing amount of just plain strangeness in this film was a welcome surprise. This was my third time watching it and it delivers every time. The pros out… read review