After losing their daughter in a drowning accident, a married couple (Donald Sutherland, Julie Christie) in Venice on business start to think they’re seeing their daughter around the city in this classic horror thriller from director Nicolas Roeg.
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Roeg's psychological thriller is a masterclass in film editing and sound featuring interesting turns by lead thesps Sutherland and Christie. Scripting is a long tease with a less than overwhelming crescendo. Over-rated in some circles this is an exercise in style over substance despite its theological and supernatural undertones.
Similar to 'The Shining' in that it's a movie about horror, rather than just a horror movie. The sex scene is notable not just for the frankness, but because Sutherland and Christie did not know each other and it was the first scene shot.
1 1/2 out of 5 stars. What a steaming pile of crap! Nicolas Roeg's style is okay but the substance was seriously lacking. The first 5 minutes was disturbing (probably only because I'm a father) and the final 5 minutes was good but not even Julie Christie in all her glory could compel me to give a damn about anything else in-between. Truly overrated and incredibly dull nonsense.
From the Golden Age of Paranoia Thrillers (the 1970s) comes the exact midpoint between Hitchcock and Lynch. Plot-wise, we're in the realm of schlock or pulp (serial killers and clairvoyants wandering about), but the rigorous visuals carry it into the realm of dreams, hitting a sweetspot where just enough is left said and unsaid to make it both lucid, coherent, and aimed directly at the subconscious. A masterpiece.
Not exactly a sex scene you'd want to watch with your grandma in the room, but why was it so controversial? Down-to-earth sex scenes between two partners, sans-airbrush, out of love, is something we need more, not less of.
Loaded with symbolism, feeling like a thriller from a British Resnais, "Don't Look Now" is challenging, complex, and ultimately rewarding. The film relies on it's ending to put the significance of other moments into context and furthermore requires more than one viewing. This shouldn't be a problem, being that Roeg's highly intelligent style of cinematography and editing is enough to maintain most viewers' interest.