Love and death in Venice never was so dark and intriguing, albeit going off an honestly limited knowledge of that very specific topic. None the less Don’t Look Now is a masterclass in suspense and features some of the best editing ever to grace the screen, with great direction, score, and performances from Sutherland and Williams. One of the greatest horror films of all time. Deeply mysterious and deadly evocative.
Mixed feelings about this. Roeg is fantastic, but this is sorta all over the place. Cut to cut to cut to cut editing. I liked it a lot more when I saw it as a teenager. Still a good film, but it leaves a bit to be desired. Worth seeing at least once. I think Roeg's other films show more skill. The theme of mistaken identity throughout is curious.
painful and fun @ the same time.......... i feel like this movie was successful at creating a lot of creepy and cool sequences which ultimately got ripped off in movies with better writing. wish i hadnt watched this w my family but im glad i saw it!!!!!!!
I go back and fourth all the time about what the ultimate message of this film is, but the final flurry of images before it ends always lead me to one conclusion: the more we try to make sense of life, the more it gets away from us and the more senseless it all seems...just like the mosaic that John almost dies trying to complete.
I'm staying the @#$% out of Venice until this whole homicidal dwarf thing runs its course. Filmed in Cine-Hypnosis. Warning: Burn red rain-slickers until there is nothing left. People ask me what it's about. "Venice. Church renovations. Weird, withered old ladies of various heights. Arghh. Just watch the !@#$ing movie, OK?!?"
I used to be super-duper cynical about metaphysical stuff. Don't Look Now looks better now. Still not quite top-tier Roeg. It's an art film. It's a horror movie. Horror is about the return of the repressed. Don't Look Now's trump card is that what is being repressed is innate knowledge about the world and reality. Murky. I can only imagine how awful the du Maurier story must be. Roeg almost totally redeems. Almost.
2 componentes marcan la tragedia y el mal agüero en esta historia: el agua y el rojo. Para donde vaya, un padre se encontrará con este elemento y el color que le recuerdan esa tragedia que melló su tranquilidad, pero que además (se sugiere) activó su sexto sentido; la predicción. Irónicamente, este excéptico personaje tendrá la respuesta ante sí, más se negará a concebirla. Gran escena que cruza lo sexual y la rutina
A cinematically rich experience, the opening segment is a masterwork of colour and composition. At points it gives way to simplistic haunts of horror but has a depth and craft that elevates it above a traditional cinema experience. Glad to see it's getting the Criterion love it definitely deserves.