Dont Look Now (1973) Other movies recommended for you
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Plot: A married couple grieving the recent death of their young daughter are in Venice when they encounter two elderly sisters, one of whom is psychic and brings a warning from beyond. Runtime: 110 mins Release Date: 16 Oct 1973
I was afraid to swallow, to make any noise. The unspeakable was all around me and I lived it up to the fullest. Nicolas Roeg plays with our instincts, with our inner voices and challenge us to take notice. Just like Donald Sutherland's character. He knows, even if his brain tells him not to be stupid. To believe is to commit intellectual suicide. Better not to look, not to listen. Sutherland and Christie are one of the most convincing modern artistic yet normal married couples in their pain in their every daily detail. Sutherland goes along with Christie's "nonsense" because <more>
he sees what the nonsense does for her. They make love for the first time since their daughter's death in a way we've never seen before on the screen and, probably, never will again. Based on a Daphne Du Maurier's book, Nicolas Roeg has orchestrated a chilling work of art. For film lovers all over the world, if you haven't seen it, do, preferably in the dark with someone you know and love.
People want and expect different things from movies. What engages and captivates one person can just as easily displease and repulse another see Titanic . Sometimes, a film simply doesn't register beyond the viewer's walk/drive home this criminal offense is not exclusively a phenomenon of the 1990s in spite of the last decade's distinct dearth of memorable films . Don't Look Now, however, is a film which cannot fail to last long in the mind.It is easy to love the film for its rare depth of character, its beautiful yet disturbing plot, the stunning Venice setting, the tender <more>
and original love scene or just for Donald Sutherland's never-rivalled wig! I am sure, however, that people find it easy to fault the film because it doesn't neatly tie up loose ends, because it is dark and depressing the film's extensive reach encompasses death, loss, murder, blindness, religion and dwarfism and because film-making conventions are abandoned.The source material of Du Maurier's short story provides only a meagre framework onto which screenwriters Scott and Bryant have fleshed a stunning adaptation. Roeg's visual and emotional style of directing has never been so perfectly showcased as in Don't Look Now. How many more times can film-makers and advertisers steal or "pay homage to" Roeg's ingenious work? Julie Christie is luminous and pulls the viewer with her through Laura's painful journey after the film's shocking opening. Sutherland's performance is stellar as well. His character, John, is like a Hitchcockian fall-guy with real personality and depth. You are swept along through the canals and narrow avenues with him as Pino Donaggio's stirring music both chills and lulls.Films made in the tone of Don't Look Now are so rare these days. I am not an old fuddy-duddy who complains that "they don't make 'em like they used to" but am simply a slightly disillusioned film fan who wishes there were just a few more film-makers willing to take chances and not follow the dull formulaic line. What was the last film that stayed with you long after you saw it? It always sounds like a cliche when some obsessed fan tells you a film haunted them for days but Don't Look Now has a curious effect on the viewer. Its intensity grows. Different parts of the film mull around in your mind. You don't think about individual 'scenes' from the film either, you think about the situations, the people, the feelings. All of which is testament to the roundly drawn characterisation and elegant yet not contrived structure of the film.If you haven't seen Don't Look Now before then you have a treat awaiting you. If you have seen it - see it again and marvel at a profound, eery, haunting, moving and beautiful film. If it disappoints you that films of such indelible and recurring substance like this are thin on the ground Apocalypse Now, Taxi Driver and The Conversation had similar effects on me then do not hesitate to picket the next showing of.... OUT OF RESPECT TO IMDB'S CONTENT GUIDELINES I WON'T NAME TITLE OF MORONIC HOLLYWOOD BLOCKBUSTERS AND THE LIKE !
The Italian title of this Nicolas Roeg's classic is "A Venetian Shocking Red December" yep. I had seen this film dubbed into Italian, years ago. I was taken by the look and the atmosphere I remember being unnerved but I was appalled by the acting, specially Julie Christie's - one of my favorites of all time. Yesterday I saw the film again in its original English version. My goodness, what a difference! The film is even more frightening that I remembered. The atmosphere is asphyxiating. You can actually smell the rotting stench of the most beautiful city in the world. The <more>
ending leaves you breathless and the acting, well, listening to the actors real voices is another experience altogether. The pain and sudden burst of hope in Julie Christie is moving, very moving and very unsettling. Sutherland, as usual, is magnificent. The film, other than a solid cult status, remains virtually unknown by the public at large. "Don't Look Now" is a buried treasure that is bound to be re discovered and to all my countrymen, a piece of advise: avoid dubbed movies at all cost.
Chilling and mysterious (by MichaelCarmichaelsCar)
There are two types of horror films, really. There are popcorn horror films, good for a cheap in-the-moment thrill at best, and there are serious horror films, movies that linger in the mind and in the bones. I have just watched Nicolas Roeg's 'Don't Look Now' and my spine is frozen. It's 4am, I'm alone, and I have a heightened awareness of sounds and sights I usually don't notice.Here is a movie that's both resolved and unresolved, ultimately growing more ambiguous as it progresses and becomes more complex. After it is over and has become a complete d work to <more>
the eye of the viewer, the lasting impression is that of mystery. Too many films in this genre bark up the wrong tree, working to explain all of the events that unfold. By explaining nothing, by being almost abstract, questions and images will haunt the viewer indefinitely. It is what it is, and while this movie can be watched over and over, and the events that occur can be anticipated, they will forever remain an enigma. This is true cinema, purely visual and aural, without the helpful but ultimately self-defeating aid of a proxy observer; the viewer is the direct observer, and there's no filter through which the events and images develop any sort of tidy rationality.Donald Sutherland's performance here is sober, adult, the grief of his character palpable. And in the face of this grief is a force that runs through the movie like a dark current, evoking the eternal and spookily ethereal and subterranean; less an eternity of the heavens than the eternity of a crypt. Venice is not merely the ideal location for this story, but the necessary location; it could not take place anywhere else. The unquestionable, and indeed imposing, Gothic majesty of the churches, whose interior height dwarfs their human occupants with the spiritual dread of the ancient, overlooks the canals of Venice like the wicked-faced stone gargoyles Sutherland finds himself physically embracing, while the canals that run through the city are literally the ghost of this couple's personal tragedy. Living in Venice, in light of the details surrounding their loss, seems almost a perverse choice, perhaps a masochistic one; they could be punishing themselves for their daughter's drowning by living in a flooded city.It's not that Sutherland's character is a rational man in an irrational environment, but rather a rational man in an environment whose own secret code, which one may trust makes perfect sense to itself like a tree in the forest that will only fall if no one is around to hear , is inaccessible and inexplicable to him, baring itself only in fragments in a way he chooses to ignore, just as you might ignore a spectral voice in the dead of night, dismissing it as a product of your imagination.The movie's notorious love scene is jarringly explicit, yet rather than erotic, it is profoundly sad, and takes on a deeper even creepy resonance after the film ends. That the scene is intercut with scenes of Sutherland and Julie Christie dressing prevents the two from ever being completely naked and united; this editing choice changes the dimensions of the love scene in a way that I've never seen attempted elsewhere. At other points, Roeg inserts moments and images that carry sinister implications, none of which are ever concretely substantiated and only leave the viewer with more questions.The film drifts along at a wandering pace. The final twenty minutes are among the most atmospheric and suspenseful twenty minutes in any film, culminating in a montage that is absolutely chilling.'The Blair Witch Project,' made over two decades later and probably influenced by this, has similar aspirations, but finally has only a fraction of the emotional gravity.
Mysterious, brooding and bone chilling at the climax! (by The_Void)
Don't Look Now is a strange horror film in that it doesn't rely on the usual horror genre staples in order to be successful. Rather than be gratuitous on the gore, atmosphere and shocks front, Don't Look Now simply presents it's story and the horror almost seems like an afterthought. Usually, films like this annoy me because they obviously want to portray the horror, but skirt around it in order to not be put in with the less intelligent offerings from the genre; but this one clearly cares about it's story and characters, and never really sets out to scare. The film, <more>
therefore, comes off as being assured and well handled throughout, and even though the plot is slow; the film can never be described as boring because there's always enough bubbling under the surface of the immediate goings on in order to keep the viewers' interest. The plot is shrouded with mystery and follows a father who finds his daughter drowned in a nearby lake. He and his wife then move to picturesque Venice, but the memory of their daughter cannot be laid to rest after a blind psychic tells the woman that she has seen her daughter may still be alive.I love the horror genre, but I admit that a large proportion of it can't be compared among the true classics of cinema due largely to a lack of production values, good acting or a decent script that is coherent with the story and characters. Don't Look Now, however, often appears on film lists amongst the classics because this is one of the films that is strong in those areas. The acting is first rate, with Donald Sutherland and Julie Christie giving brilliant brooding performances that are in line with their characters and the film's plot. Sutherland can be something of a one-note actor, but when a performer is given the right material it allows them to shine and his role in this film fits him like a glove. One of the main compliments that this film gets is the cinematography, as the film expertly captures the beauty of it's central location. Venice's canals and dark alleys are as much a part of this film as the plot itself, and it is testament to Nicolas Roeg's directorial talent that this has been expertly captured in a way that helps the film. On the whole, this is a fine horror film that will be enjoyed by anyone that is willing to put time and effort into it. It's also worth noting that this film pays it's viewers at the climax with one of the best twist endings in the horror genre. Highly recommended!
One of the Most Beautiful and Stylish Films I Have Ever Seen (by claudio_carvalho)
In England, John Donald Sutherland and Laura Baxter Julie Christie lose their beloved daughter Christine Sharon Williams drowned in a lake in their real state. They move to Venice and leave their son John Nicholas Salter in a boarding school. While working in the restoration of a church, John has lunch with Laura that is not fully recovered of her loss and she helps an old lady in the restaurant with a speck of dust in her left eye. Her blind sister that claims to be psychic advises Laura that she can see her daughter happy and close to them; and that John that is also psychic must <more>
leave Venice since he is in danger. Laura feels happy with the revelation but the skeptic John does not believe in the elderly sisters. Meanwhile a serial-killer is killing people in Venice. When Laura and John are called during the night by the director of the boarding school telling that John had had a minor accident, Laura travels in the morning to London to see their son. Meanwhile John has an accident in the scaffold in the church and while going back to the hotel, he sees Laura and the sisters on a funeral gondola. Further he glances somebody wearing the red clock with hood that Christine wore when she died. John decides to investigate whether the sisters have abducted his wife and to follow the person with the red cloak with tragic discoveries."Don't Look Now" is one of the most beautiful and stylish films I have ever seen. In the 70's, the former cinematographer Nicolas Roeg was in the beginning and the also in the top of his career. This outstanding cult-movie is impressive, with a fragmented narrative and a stunning cinematography even in an old VHS of my own. Julie Christie is extremely beautiful and Donald Sutherland is perfect as usual in the role of a couple traumatized by the loss of their beloved daughter. The screenplay discloses locations that show the decay of Venice, giving sadness to the story. Last time I had seen this film was on 20 January 2000 and today I have just had the pleasure of seeing it again. My vote is nine. Title Brazil : "Inverno de Sangue em Veneza" "Winter of Blood in Venice" Note: On 01 November 2013, I saw this movie again on DVD.
Let me start by saying that any Roeg film is worth watching the guy could shoot a bowl of soup and create tension ."The Man Who Fell To Earth",and "Walkabout" are personal favorites of mine,the whole theme of alienation and the inexorable change produced by a collision of world psychologies being a natural for Roeg.Instead of super-sensitive alien out to rescue his planet from dehydration which is really an optional pretext,the film not really being about that ,or the primal awakenings of two young Australian kids left to their own devices in the outback by their psychotic <more>
father,forging a life-changing relationship with an aboriginal boy,"Don't Look Now" is essentially the story of a man whose devotion to detail and rationality blinds him to the psychogenic realm,and his own inherent ability to see into it,that he ends up dying a gruesome and bizarrely unpredictable death.Why this man is punished by fate,or God,or by his own stubbornness is one of the most elusive metaphysical ideas I've ever seen in a film.I believe that contained in the moment,where Sutherland "sees" his daughter's drowning,AND the melting slide photo with the blood cascading from what at that point in the film we believe to be his daughter,in her plastic red raincoat,sitting in one of the pews in the picture of a church he'll soon be restoring,is the key to the mystery.An unholy parallelism seems to be hatched here-his very human,and TOTAL love and concern for his daughter has blinders on it whose doesn't? ,and any ominous clairvoyance on his part is relegated to his subconscious.In any case,this is a totally unique movie,and the strange sisters lend a great,modern Shakespearian feel to the film.Obviously,Roeg's cinematography is outstanding!
I just saw "Black Swan," one of the most successful cinematic seductions of the inner worlds of madness. It prompted me to go to this rather than "Red Shoes" or "Nostalghia."What makes this film — indeed this filmmaker — valuable is the first decision made. The world of the film is not much like the real world, nor any familiar film world, though there are fragments of and references to both of these. The cinematic reach is toward Giallo, a genre which could be characterized as Italian noir: circumstances that fall upon a hapless ordinary citizen, <more>
circumstances that are manipulated by and for the viewer and which in the Italian case involve color as a violent agent.The choice in this case is to live in an internal world, the fragmented mind of a psychic who foresees his own death, but believes it to be the death of his non-existent daughter who we may see being conceived . Roeg is highly visual in his storytelling and since the story here is fragmented and non-linear, the narrative sense is all in the visual continuities: color, water and the Red Riding Hood story. The title is from a variation on that story which has the ending deviate from the fairy tale because of decisions on what Red chooses to look at.The elements of the film's story hardly matter: our psychic is a restoration expert, working to remake a Venetian chapel and its scrambled mosaics. His life is partially on and partially under water, among and in psychic women, one of whom is his wife. There are many amazing compositions here: not as sublime as Tarkovsky, but as well considered. The scene most recalled in memory by myself and others is the lovemaking scene.Photographing sex must be one of the most difficult challenges for a filmmaker. Here, the ambition is orders of magnitude beyond usual because the same folded and fragmented Joyean vision that frames his quest for death is in and under the skin of his beloved. The filming is erotic of course, and it is hard enough to avoid the salacious. But Roeg goes far beyond: the encounter would normally consist of foreplay, coitus and redressing as a sequence as bound to earth as any. But here, the intimacy comes from the mix of these. The effect changes us in several ways. We know we are seeing many such sessions: a lifetime of love. We know that even this intense touching is for him a cacophony of shifted cause. We know from his after-demeanor that it always puzzles him that he cannot put things in their right place, even here.And the woman, his love, is transformed into rivers, canals, chapels, children unknown and mirrors and photographs that confuse.He is not restored. She continues to flow. We leave the film a bit more psychic and free from wolves.Ted's Evaluation -- 3 of 3: Worth watching.
I can think of a some reasons for the film title's meaning, but anyway, I am very glad I gave this film from director Nicolas Roeg Walkabout, The Withches , based on the short novel by Daphne Du Maurier, another chance. In a not all linear story, John BAFTA nominated Donald Sutherland and Laura Baxter BAFTA nominated Julie Christie are living in Venice to work on an old church, and get over the drowning of their daughter Christine Sharon Williams . There Laura meets a pair of elderly sisters, Wendy Clelia Matania and blind Heather Hilary Mason who claims to be psychic and that <more>
she can "see" the spirit of the dead daughter. Laura of course is intrigued, but John is resiting the idea, but he does take some notice when Laura gives him their warnings to leave Venice. He soon has his own psychic flashes, seeing their daughter running through the streets of Venice in her red coat. The final and shocking scene sees John finding what he thinks is Christine, but is fact a Dwarf Adelina Poerio who has been on a murder spree, and John of course is the next victim, getting his throat slashed. Also starring Massimo Serato as Bishop Barbarrigo, Renato Scarpa as Inspector Longhi, David Tree as Anthony Babbage, Ann Rye as Mandy Babbage, Nicholas Salter as Johnny Baxter and Bruno Cattaneo as Detective Sabbione. While the story is filled with creepy and chilling moments, eccentric characters and that terrifying finale, the iconic scene of this film is the passionate sex scene between Sutherland and Christie, portraying husband and wife, with dressing parts edited in it is a remarkable unscripted improvised by Roeg scene. Sutherland and Christie make good performances, and while the story isn't all straight forward, it is very watchable, a good idea to watch more than once. It won the BAFTA for Best Cinematography, and it was nominated for Best Film Editing, Best Sound Track and Best Film. Julie Christie was number 91 on The 100 Greatest Movie Stars, and she was number 24 on The 50 Greatest British Actresses, the film was number 55 on The 100 Greatest Sexy Moments, it was number 20 on The 100 Greatest Scary Moments, it was number 40 on The 50 Greatest British Films, and it was number 71 on The 100 Greatest Films. Very good!