3-4. This movie has an overall brilliant command over religious semiology, tracing the path of a man whose reason strangles his own strong connection to the divine, and ultimately seems to frame his divine connection as the domino that began his end. I'm slightly ambivalent about the part where Donald Sutherland is wandering around looking for Laura, not least because his acting's spotty in places. Still, loved it.
Nothing in the past decade has come close to Nicolas Roeg's masterful thriller, which simultaneously functions as a technical exercise (there are few things I've watched that are edited this precisely) and a more thoughtful, spiritual one. Don't Look Now is a stirring creation, a chilling work of art about grief, the fluidity of time, and a thoughtful consideration on self-fulfilling prophecies.
Watched Nicolas Roeg's Don't Look Back earlier. A strange film, not so much straight horror as a psychological thriller with slight supernatural/horror elements. An eery, uneasy quality hangs over the whole film. Roeg's non-linear editing techniques are very prominent in this film and this only adds to the strangeness and uneasiness.
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.
Great for when you want to see a threadbare concept gently tugged until it reaches two hours. Roeg is full on stylist here - later works will take scenes from this and make them more bizarre (Kubrick, Lynch). The perfectly dreadful Venice is one of the great accomplishments here. Christie feels like she's been wasted, Sutherland is a capable avatar, and, you know, horrific mother figures steal the show.