Don't Look Now
1973
Nicolas Roeg's third film--after the brash PERFORMANCE (1970) and meditative WALKABOUT (1971)--is a haunting thriller that confirmed the director's status as a true visionary. Based on a story by Daphne Du Maurier, DON'T LOOK NOW follows a grieving English couple to Venice, where the past continues to plague them. John Baxter (.. Read more
| Starring | Donald Sutherland, Julie Christie, Hilary Mason, Celia Matania |
|---|---|
| Director | Nicolas Roeg |
| Genres | Thriller |
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Critics' reviews (4)
View all -
It would be hard to better the credits for this frantic French farce. Shot by Jean Renoir's nephew, Claude, and with a score by France's finest film composer, Georges Auric, it is directed with gleeful assurance by Gérard Oury, a former member of the world-famous Comédie-Française. The stars are our own Terry-Thomas, the gently comedic Bourvil and practised farceur Louis De Funès, perhaps best known here for the Gendarme of St Tropez series. Why, then, does this story of an RAF pilot sheltered from the incompetent Nazis by the Resistance manage to be less funny than an episode of 'Allo, 'Allo?
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A macabre short story has become a puzzling piece of high cinema art full of vague suggestions and unexplored avenues. Whatever its overall deficiencies, it is too brilliant in surface detail to be dismissed. Depressingly but fascinatingly set in wintry V
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A superbly chilling essay in the supernatural, adapted from Daphne du Maurier's short story about a couple, shattered... read more on Time Out
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Most helpful members' reviews (3)
View all -
32 out of 36 people found this review helpful
Look Now!
If you haven't then do, if you have then do so again. Watching this film is to watch a master at work, Nick Roeg knits together time strands and imagery that challenge the viewer and produce a truly pioneering film. Defying us to categorise this film Roeg has not made a classic horror or thriller, "Don’t Look Now"’s horror is internalised and only becomes horrific when seen as a whole. Don’t expect a building sense of horror, instead experience tension a plenty and a continuous and uncomfortable sense of doom.
A psychological examination of intense and ongoing grief set within a strained relationship and the claustrophobic back routes of Venice. Don’t Look Now could easily have suffered from style over substance, but, although Roeg could give David Lynch a few pointers in the surreal, the actors manage an incredible depth of emotion that forces the viewer to care about them. Donald Sutherland is on top form and the heart wrenching opening scene will leave even the hardened viewer contemplating the unfairness of life and the love of a parent. And the oft commented on sex scene; this really should be compulsory viewing for all new directors... this is how it should be filmed, people.
Although "Don’t Look Now" is rated and ranked highly by just about every critic, and rightly so, this film is not easy viewing. A must see to complete your personal top 100, but not sure the average viewer will rank it in their top 10. -
17 out of 19 people found this review helpful
Do Look Now
The words 'a classic thriller' have been so desperately overused that you may not believe me. But this is.
For all its claims to be terrifying, I'm afraid it's not (or not anymore, anyway). But it's well woven together, with characters you'll believe in, and a setting (out of season Venice) which is genuinely unnerving.
I found myself unable to just switch off and walk away, so I immediately watched the DVD's extras; a short documentary (which is actually rather well done and very interesting) and trailer (which gives away the ending), and even flicked through a couple of the indexed scenes. By that point, I'll admit, I had had enough...
Overall this film manages to be two things at the same time. It's a fascinating piece of film making, which anyone with an interest, or who works in the business, will find themselves picking over again and again. And at the same time, it's a terrific story, well told, strongly acted, and lovely to look at. Gosh. -
17 out of 20 people found this review helpful
A film to watch - in other words, do look now!.
This a film that requires, but rewards, close watching. It?s a film really about coincidence and fate, about the significance of little things in the greater course of lives, and whether, with hindsight, events are predestined or, well, just accidental.
It is not a horror film or thriller in any conventional sense, but it does makes effective use of a semi-deserted, out-of season Venice to create an edgy and disquieting, atmosphere. Against this backdrop, a young couple are forced to revisit the loss of their young daughter by an eccentric pair of middle aged ladies, one of whom claims to be blessed with second sight, and to have seen their dead child sitting happily with her parents as they dined.
The events that flow from this (or perhaps this meeting is just a preordained part of events already in flow) build with an increasing sense of doom towards the bitter-sweet conclusion.
The parents are exceptionally well played; the sceptical, existentialist Sutherland contrasted with the eager-to-believe, open-minded Christie. Frequently at odds, they nevertheless convey brilliantly the minutiae of a genuinely loving couple drawing comfortably together again after the emotional withdrawals occasioned by their bereavement. I believe the pair were actually having an off-screen affair at the time, and this could well explain the natural cosy intimacy they convey on-screen.
The film makes use on occasion of a non-linear style, with scenes often inter-cut. There are also frequently repeated visual motifs. And this in a sense makes the whole film constructed a bit like a puzzle, where you can see all the pieces of a jigsaw, but can?t quite understand how they fit together, or what the picture is. It is only at the very end, once the conclusion is know, that you can think back over the film, and everything that has gone earlier suddenly makes sense, and all the pieces fall into place.
But it?s still up to the viewer to decide if events are in some way mystically preordained, or all our lives are simply buffeted along a course by accident and coincidence. -
Most recent members' reviews (2)
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1 out of 1 person found this review helpful
Scary and a classic
A great film, looking a bit dated now but surely a classic. The DVD contains interesting material about the making of the film, its imagery and symbolism.
But what does it mean? What are the motives of the other characters? A good one to have long discussions about well past the midnight hour. -
1 out of 1 person found this review helpful
Sad, beautiful
a classic, pretty gritty, but still worth it, even if you prefer happy endings. The leads are great - definitely a must-see.
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32 out of 36 people found this review helpful
Look Now!
If you haven't then do, if you have then do so again. Watching this film is to watch a master at work, Nick Roeg knits together time strands and imagery that challenge the viewer and produce a truly pioneering film. Defying us to categorise this film Roeg has not made a classic horror or thriller, "Don’t Look Now"’s horror is internalised and only becomes horrific when seen as a whole. Don’t expect a building sense of horror, instead experience tension a plenty and a continuous and uncomfortable sense of doom.
A psychological examination of intense and ongoing grief set within a strained relationship and the claustrophobic back routes of Venice. Don’t Look Now could easily have suffered from style over substance, but, although Roeg could give David Lynch a few pointers in the surreal, the actors manage an incredible depth of emotion that forces the viewer to care about them. Donald Sutherland is on top form and the heart wrenching opening scene will leave even the hardened viewer contemplating the unfairness of life and the love of a parent. And the oft commented on sex scene; this really should be compulsory viewing for all new directors... this is how it should be filmed, people.
Although "Don’t Look Now" is rated and ranked highly by just about every critic, and rightly so, this film is not easy viewing. A must see to complete your personal top 100, but not sure the average viewer will rank it in their top 10. -
17 out of 19 people found this review helpful
Do Look Now
The words 'a classic thriller' have been so desperately overused that you may not believe me. But this is.
For all its claims to be terrifying, I'm afraid it's not (or not anymore, anyway). But it's well woven together, with characters you'll believe in, and a setting (out of season Venice) which is genuinely unnerving.
I found myself unable to just switch off and walk away, so I immediately watched the DVD's extras; a short documentary (which is actually rather well done and very interesting) and trailer (which gives away the ending), and even flicked through a couple of the indexed scenes. By that point, I'll admit, I had had enough...
Overall this film manages to be two things at the same time. It's a fascinating piece of film making, which anyone with an interest, or who works in the business, will find themselves picking over again and again. And at the same time, it's a terrific story, well told, strongly acted, and lovely to look at. Gosh. -
17 out of 20 people found this review helpful
A film to watch - in other words, do look now!.
This a film that requires, but rewards, close watching. It?s a film really about coincidence and fate, about the significance of little things in the greater course of lives, and whether, with hindsight, events are predestined or, well, just accidental.
It is not a horror film or thriller in any conventional sense, but it does makes effective use of a semi-deserted, out-of season Venice to create an edgy and disquieting, atmosphere. Against this backdrop, a young couple are forced to revisit the loss of their young daughter by an eccentric pair of middle aged ladies, one of whom claims to be blessed with second sight, and to have seen their dead child sitting happily with her parents as they dined.
The events that flow from this (or perhaps this meeting is just a preordained part of events already in flow) build with an increasing sense of doom towards the bitter-sweet conclusion.
The parents are exceptionally well played; the sceptical, existentialist Sutherland contrasted with the eager-to-believe, open-minded Christie. Frequently at odds, they nevertheless convey brilliantly the minutiae of a genuinely loving couple drawing comfortably together again after the emotional withdrawals occasioned by their bereavement. I believe the pair were actually having an off-screen affair at the time, and this could well explain the natural cosy intimacy they convey on-screen.
The film makes use on occasion of a non-linear style, with scenes often inter-cut. There are also frequently repeated visual motifs. And this in a sense makes the whole film constructed a bit like a puzzle, where you can see all the pieces of a jigsaw, but can?t quite understand how they fit together, or what the picture is. It is only at the very end, once the conclusion is know, that you can think back over the film, and everything that has gone earlier suddenly makes sense, and all the pieces fall into place.
But it?s still up to the viewer to decide if events are in some way mystically preordained, or all our lives are simply buffeted along a course by accident and coincidence. -
10 out of 16 people found this review helpful
Don't watch now!
I was very disappointed with this film, it was very slow and very dated, this normally would not have stopped me watching the whole movie, but the soundtrack is extremely poor, it causes speaker distortion and in places is hard to actually hear the speech.
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7 out of 10 people found this review helpful
Do look now, Roeg classic...
Although the film certainly has a dated look about it (70s - which it is is) along with dizzying zoom-ins, Donald Sutherland in mocha-hued slacks and so on, I think this is a terrific film.
The subject matter, touching on macabre themes of death, clairvoyancy, is dealt with passionately and in a very visual and intense directorial style that one would expect of Nicholas Roeg and if you are a fan of his work you will not be disappointed.
Set in Venice, it is aesthetically captivating and frequent symbolism mirrors the plot and emotions which are occurring. Both Julie Christie and Donald Sutherland are charismatic as a relaxed and loving couple which served to heighten the traumas which occur in Don't Look Now.
If you are smart enough to get over the dated look of the film and enjoy a slightly psychedelic art-house style of film making, give this a bash, it's classic cult viewing. -
6 out of 9 people found this review helpful
Don't look now - or ever in fact!
Sorry to be terribly mainstream and predictable but I thought this film was tosh. The whole thing (sex scene included) was totally self-indulgent concluding with a bizarre finale that was quite out of place in the film which lacked energy from the outset. Sorry - but it was a great disappointment.
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5 out of 5 people found this review helpful
A new Venice
A couple travel to Venice to try and recover their marriage after the death of their child and find themselves wrapped into shadows and menace of Venician glory. All is not well and there is a killer on the lose amid the subtlety, raw emotion and art.
Having read the book behind this film, I was not expecting it to have too many surprises. What I found was a demanding, disturbing, beautiful film, which added complexity to the original plot. The climactic scene will send you reeling even if you have already worked out what is coming. Please watch this film! -
5 out of 6 people found this review helpful
What the?????
However much you like the way a film is put together whether it be the atmosphere, use of music, etc etc, the most important thing in a film no matter what the genre or how fantastical it may be, is LOGIC!! There has to be some sort of totality or the audience just leave confused. You watch this film for 2 hours and then the most bizarre ending pops out of nowhere and it's not even explained why? Ridiculous over hyped self indulgent rubbish!!!
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5 out of 7 people found this review helpful
Dont beleive the hype!
Firstly, apologies to all the people who rated this dull, highly overated film 'one of the best horror films blah blah blah'. I can only assume they are easily pleased, the film cant even excuse itself as not ageing well, its just bad. The much mentioned 'twist' is laughable but at least this indicated the film would end soon. Its only redeeming feature is the acting, both performances from the leads are strong but couldnt keep me entertained. Im not a fan of this film because its old, its because its not very good and hugely dissapointing
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4 out of 4 people found this review helpful
don't look here!
After picking up on the film from an Empire 5* review, which in the most part are usually reliable, I sat down to endure an absolute turkey of a movie. Arty and self indulgent in its direction, shoddy production sounding like it was recorded in a public toilet, a random sex scene irrelevant to the plot if there was a plot and an ending as bizarre as Donald Sutherlands eyes. In fact rent it just to laugh at the ending in which a red coated midget...I can't spoil it for those who don't believe me when I say this film sucks.....I'm sure the book reads a lot better and there are to give the film some credit ( only some) a few ideas that future films and directors have drawn from the cornered midget at the end (blair witch project) the red colour theme (sixth sense) but thats it !!!!
Critics' reviews (4)
-
It would be hard to better the credits for this frantic French farce. Shot by Jean Renoir's nephew, Claude, and with a score by France's finest film composer, Georges Auric, it is directed with gleeful assurance by Gérard Oury, a former member of the world-famous Comédie-Française. The stars are our own Terry-Thomas, the gently comedic Bourvil and practised farceur Louis De Funès, perhaps best known here for the Gendarme of St Tropez series. Why, then, does this story of an RAF pilot sheltered from the incompetent Nazis by the Resistance manage to be less funny than an episode of 'Allo, 'Allo?
-
A macabre short story has become a puzzling piece of high cinema art full of vague suggestions and unexplored avenues. Whatever its overall deficiencies, it is too brilliant in surface detail to be dismissed. Depressingly but fascinatingly set in wintry V
-
A superbly chilling essay in the supernatural, adapted from Daphne du Maurier's short story about a couple, shattered... read more on Time Out
-
"...One of the most dynamic and radical British films ever made..."
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Nicolas Roeg's third film--after the brash PERFORMANCE (1970) and meditative WALKABOUT (1971)--is a haunting thriller that confirmed the director's status as a true visionary. Based on a story by ... -
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