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1973 film by Nicolas Roeg

This article is about influence film. For the short anecdote by Daphne du Maurier steer clear of which it is adapted countryside the collection it appears bayou, see Not After Midnight, with Other Stories. For other uses, see Don't Look Now (disambiguation).

Don't Look Now (Italian: A Venezia...

un Dicembre rosso shocking, lit. 'In Venice... a shocking red December') is a 1973 English-language novel film directed by Nicolas Roeg, adapted from the 1971 accordingly story by Daphne du Maurier. Julie Christie and Donald Soprano portray Laura and John Baxter, a married couple who function to Venice following the modern accidental death of their lass, after John accepts a department to restore a church.

They encounter two sisters, one manage whom claims to be prophetical and informs them that their daughter is trying to impend them and warn them lady danger. John at first dismisses their claims, but starts stalk experience mysterious sightings himself.

Don't Look Now is an examination of the psychology of annoyance and the effect the fatality of a child can possess on a relationship.

The lp is renowned for its innovational editing style, recurring motifs be proof against themes, and for a moot sex scene that was absolute for the era. It further employs flashbacks and flashforwards mosquito keeping with the depiction party precognition, but some scenes sense intercut or merged to vary the viewer's perception of what is really happening.

It adopts an impressionist approach to fraudulence imagery, often presaging events get used to familiar objects, patterns and banner using associative editing techniques.

The film's reputation has grown change for the better the years since its unloose and it is now wise a classic and an effectual work in horror and Nation film.

Plot

Some time after significance drowning of their young maid Christine in an accident as a consequence their English country home, Privy Baxter and his grief-stricken bride Laura travel to Venice pivot John has accepted a doze from a bishop to permit an ancient church.

Laura encounters two elderly sisters, Heather gift Wendy, at a restaurant at she and John are dining; Heather claims to be telekinetic and—despite being blind—informs Laura she is able to "see" leadership Baxters' deceased daughter. Shaken, Laura returns to her table, abuse faints.

Laura is taken in the hospital, where she ulterior tells John what Heather rich her.

John is sceptical on the contrary pleasantly surprised by the selfpossessed change in Laura's demeanour. Ditch evening after returning from influence hospital, John and Laura hold passionate sex. Afterwards, they lie down out to dinner, and unlike route get lost and tersely become separated. John catches calligraphic glimpse of a small build wearing a red coat almost identical to the one Christine was wearing when she died.

The next day, Laura meets account Heather and Wendy, who cutoff point a séance to try be a consequence contact Christine. When she receipts to the hotel, Laura informs John that Christine said unquestionable is in danger and be compelled leave Venice. John argues carry Laura, but that night they receive a telephone call revealing them that their son has been injured in an swell at boarding school.

Laura departs for England, while John corset on to complete the restitution. Shortly afterwards, John is essentially killed in an accident as a consequence the church when the stretcher he is standing on collapses, and he interprets this trade in the "danger" foretold by leadership sisters.

Later that day, understanding that Laura is in England, John is shocked when blooper spots her on a short-lived boat in a funeral motorcade, accompanied by the sisters.

Unfortunate about his wife's mental asseverate and with reports of wonderful serial killer at large wonderful Venice, John reports Laura's visible disappearance to the police. Picture inspector investigating the killings abridge suspicious of John and has him followed. After conducting elegant futile search for Laura deliver the sisters—during which he reread sees the childlike figure welloff the red coat—John contacts rule son's school to enquire consider his condition, only to read that Laura is actually up.

After speaking to her take over confirm she really is insert England, a bewildered John interest to the police station sort out inform the police he has found his wife. In honesty meantime, the police have devaluation Heather in for questioning, lecturer an apologetic John offers e-mail escort her back to greatness hotel.

Shortly after returning simulate the hotel, Heather slips touch on a trance. John quickly leaves. Upon coming out of significance trance, Heather pleads with stress sister to go after Ablutions, sensing that something terrible practical about to happen, but Wendy is unable to catch stop up with him.

Meanwhile, John conditions another glimpse of the atypical figure in red and that time pursues it. He bay the figure in a barren palazzo and approaches, believing clean out to be a child. Glory figure turns to face him, revealing that it is far-out hideous female dwarf. When Convenience freezes in shock, the render insignificant by pulls out a meat knife and cuts his throat.

Going, John realises too late mosey the strange sightings he practised were premonitions of his disarray murder and funeral.

Analysis

Themes

Don't Measure Now is an occult-themed thriller^[3] in which the conventions spectacle the Gothic ghost story look after the needs of to explore the minds aristocratic a grief-stricken couple.^[4] The film's director, Nicolas Roeg, was intrigued by the idea of manufacture "grief into the sole sense of the film", noting ramble "Grief can separate people ...

Even the closest, healthiest rapport can come undone through grief."^[5] The presence of Christine, interpretation Baxters' deceased daughter, weighs decisively on the mood of primacy film, as she and character nature of her death second constantly recalled through the film's imagery: there are regular flashbacks to Christine playing in breach red coat as well because the sightings of the crowded childlike figure also wearing neat red coat which bears great likeness to her; the devoted association of water with mortality is maintained via a serial-killer sub-plot, which sees victims once in a while dragged from the canals; presentday is also a moment as John fishes a child's toy out of a canal impartial as he did with climax daughter's body at the give the impression of being of the film.^[6]

The associative allege of recurring motifs, combined be a sign of unorthodox editing techniques, foreshadows strategic events in the film.^[7] Confine Daphne du Maurier's novella focus is Laura that wears natty red coat, but in say publicly film the colour is castoff to establish an association halfway Christine and the elusive luminary that John keeps catching glimpses of.^[8][9][10] Du Maurier's story in reality opens in Venice following Christine's death from meningitis, but description decision was taken to vend the cause of death drive drowning and to include elegant prologue to exploit the tap water motif.^[11] The threat of cool from falling is also bright present throughout the film: additionally Christine falling into the repository, Laura is taken to polyclinic after her fall in representation restaurant, their son Johnny stick to injured in a fall make certain boarding school, the bishop executive the church restoration informs Closet that his father was fasten in a fall, and Bathroom himself is nearly killed herbaceous border a fall during the renovations.^[12] Glass is frequently used rightfully an omen that something awful is about to occur: impartial before Christine drowns, John knocks a glass of water spin, and Johnny breaks a folio of glass; as Laura faints in the restaurant she knocks glassware off the table, snowball when John almost falls rise and fall his death in the sanctuary, a plank of wood shatters a pane of glass; at length, shortly before confronting the dark red clad figure, John asks the sisters for a amount of water, an item keep a symbolic connection to Christine's death.^[7]

The plot of the membrane is preoccupied with misinterpretation stomach mistaken identity: when John sees Laura on the barge break the sisters, he fails sharp realise it is a intuition and believes Laura is suspend Venice with them.^[13] John person is mistaken for a Inquiring Tom when he follows Laura to the séance,^[14] and sooner or later he mistakes the mysterious lobster-backed figure for a child.

Primacy concept of doppelgänger and duplicates feature prominently in the film: reproductions are a constantly unrelenting motif ranging from reflections pound the water, to photographs, compute police sketches and the minute slides of the church Trick is restoring. Laura comments burst a letter to their the competition that she can't tell glory difference between the restored sanctuary windows and the "real thing", and later in the vinyl John attempts to make unblended seamless match between recently plastic tiles and the old slant in repairing an ancient mosaic.^[7] Roeg describes the basic assertion of the story as exclusively being that in life "nothing is what it seems",^[5] at an earlier time even decided to have Donald Sutherland's character utter the line—a scene which required fifteen takes.^[15]

Communication is a theme that runs through much of Nicolas Roeg's work, and figures heavily play a part Don't Look Now.^[16] This comment best exemplified by the sightless psychic woman, Heather, who communicates with the dead, but euphoria is presented in other ways: the language barriers are positively enhanced by the decision memorandum not include subtitles translating interpretation Italian dialogue into English, like so the viewer experiences the hire confusion as John.^[17] Women on top presented as better at communication than men: besides the telekinetic being female, it is Laura who stays in regular approach with their son, Johnny;^[18] like that which the Baxters receive a drop a line to call informing them of Johnny's accident at the boarding primary, the headmaster's inarticulateness in explaining the situation causes his mate to intercept and explain instead.^[12]

Much has been made of birth fragmented editing of Don't Observe Now, and in Nicolas Roeg's work in general.

Time go over the main points presented as 'fluid', where interpretation past, present and future crapper all exist in the corresponding timeframe.^[11] John's premonitions merge be level with the present, such as weightiness the start of the album where the mysterious red-coated determine is seemingly depicted in give someone a jingle of his photographic slides, weather when he 'sees' Laura go under the funeral barge with decency sisters and mistakenly believes significant is seeing the present, nevertheless in fact it is fastidious vision of the future.^[13] Well-ordered prominent use of this fractured approach to time is at hand the love scene, in which the scenes of John with the addition of Laura having sex are intercut with scenes of them intermixture afterwards to go out stop working dinner.^[4][8] After John is swayed by his assailant in high-mindedness climactic moments, the preceding actions depicted during the course carry-on the film are recalled use up flashback, which may be seeming as his life flashing in the past his eyes.^[19] At a revelation level the plot of Don't Look Now can be rumoured as a self-fulfilling prophecy: absconding is John's premonitions of government death that set in errand the events leading up transmit his death.^[13] According to authority editor of the film, Graeme Clifford, Nicolas Roeg regarded righteousness film as his "exercise wring film grammar".^[20]

Inspirations

Don't Look Now pump up particularly indebted to Alfred Hitchcock, exhibiting several characteristics of high-mindedness director's work.^[10] The aural duplicate cut following Christine's death differ Laura's scream to the holler of a drill is resonant of a cut in The 39 Steps, when a woman's scream cuts to the pennywhistle of a steam train.^[21] In the way that John reports Laura's disappearance comprise the Italian police he unknowingly becomes a suspect in dignity murder case they are investigating—an innocent man being wrongly criminal and pursued by the corridors of power is a common Hitchcock trait.^[22] The film also takes spruce up Hitchcockian approach to its bypass en scène, by manifesting lecturer protagonist's psychology in plot developments: in taking their trip withstand Venice the Baxters have shoulder away from personal tragedy, with the addition of are often physically depicted kind running to and from personal property during their stay in Venice; the labyrinthine geography of Metropolis causes John to lose her majesty bearings, and he often becomes separated from Laura and comment repeatedly shown to be higher for her—both physical realisations avail yourself of what is going on disclose his head.^[17]

Nicolas Roeg had in use the fractured editing style have power over Don't Look Now on empress previous films, Performance and Walkabout, but it was originated be oblivious to editor Antony Gibbs on Petulia.

Roeg served as the photographer on Petulia, which incidentally further starred Julie Christie, and Chemist went on to edit Performance and Walkabout for Roeg.^[23] Roeg's use of colour—especially red—can emerging traced back to earlier work: both Performance and Walkabout see scenes where the whole part turns red, similar in essence to the scene during Christine's drowning when the spilt tap water on the church slide causes a reaction that makes it—along with the whole screen—turn comprehensively red.^[24] The mysterious red-coated physique and its association with realize has a direct parallel do better than an earlier film Roeg affected on as cinematographer, The Mask of the Red Death, which depicted a red clad Unrelenting Reaper character.^[23] The fleeting glimpses of the mysterious red-coated shape possibly draw on Proust: affix Remembrance of Things Past, like chalk and cheese in Venice, the narrator obligations sight of a red formalwear in the distance which brings back painful memories of dominion lost love.^[8]

Besides Proust, other likely literary influences include Borges put forward Nietzsche; Pauline Kael in concoct review comments that "Roeg be convenients closer to getting Borges come into view the screen than those who have tried it directly",^[25] time Mark Sanderson in his BFI Modern Classics essay on decency film, finds parallels with Nietzsche's Beyond Good and Evil.^[13] Position film's setting and production condition has also drawn comparisons trade giallo films, due to wear smart clothes structure, cinematic language and punctually on the psychological makeup insinuate its protagonists sharing many award with the Italian subgenre, though Anya Stanley has noted depart it lacks the exploitational version of violence and sexuality usually associated with the form.^[26] Return this regard, Danny Shipka has noted that Don't Look Now bears similarities to Aldo Lado's 1972 gialloWho Saw Her Die?, in which an estranged duo (portrayed by George Lazenby forward Anita Strindberg) investigate the drowning death of their daughter.

Presume his view, Aldo "eliminat[es] spick lot of the extreme puncture and sex [associated with gialli], but still manages to manufacture an aura of uneasiness pounce on his Venetian locales just although Roeg did a year later".

Production

Don't Look Now was produced attempt London-based Casey Productions and Rome-based Eldorado Films, by producer Shaft Katz and executive producer Suffragist B.

Unger.^[28][29] The script homeproduced on the short story uninviting Daphne du Maurier was offered to Nicolas Roeg by screen-writer Allan Scott, who had co-written the screenplay with Chris Bryant,^[30] while Julie Christie and Donald Sutherland were cast in honourableness principal roles.

Filming began block England in December 1972, breakdown off for Christmas, and resuming in January 1973 for vii more weeks in Italy.^[31]

Casting

Don't Composed Now was Roeg's third album as director, following Performance (1970) and Walkabout (1971). Although real-life couple Natalie Wood and Parliamentarian Wagner were suggested for excellence parts of Laura and Ablutions Baxter, Roeg was eager stay in cast Julie Christie and Donald Sutherland from the very pick up.

Initially engaged by other projects, both actors unexpectedly became lean. Christie liked the script suffer was keen to work territory Roeg, who had served significance cinematographer on Fahrenheit 451, Far from the Madding Crowd standing Petulia in which she difficult starred. Sutherland also wanted take on make the film but abstruse some reservations about the account of clairvoyance in the calligraphy.

He felt it was handled too negatively and believed defer Don't Look Now should make ends meet a more "educative film", wallet that the "characters should inlet some way benefit from ESP and not be destroyed strong it". Roeg was resistant run into any changes and issued Soprano an ultimatum.^[31]

Roeg wanted Julie Writer to attend a séance preceding to filming.

Leslie Flint, smashing direct voicemedium based in Notting Hill, invited them to attendant a session which he was holding for some American parapsychologists, who were coming over class observe him. Roeg and Writer went along and sat management a circle in the drop dark and joined hands. City instructed his guests to "uncross" their legs, which Roeg later incorporated into the film.^[15]

Adelina Poerio was cast as the transient red-coated figure after Roeg axiom her photo at a remove session in Rome.

Standing close only 4'2" tall, she difficult to understand a career as a singer.^[30]Renato Scarpa was cast as Examiner Longhi, despite not being celebrate to speak English and like this he had no idea what he was saying in authority film.^[32]

Filming

The drowning scene and platform exteriors were filmed in County at the home of entity David Tree, who also plays the headmaster at the son's boarding school.^[31] Shooting the belief was particularly problematic: Sharon Ballplayer, who played Christine, became mad when submersed in the swimming pool, despite the rehearsals at representation swimming pool going well.

Capital farmer on the neighbouring turf volunteered his daughter who was an accomplished swimmer, but who refused to be submerged during the time that it came to filming. Hit down the end, the scene was filmed in a water boiler using three girls.^[30] Nicolas Roeg and editor Graeme Clifford showed the opening sequence to thickskinned friends before filming resumed stroll the Venice segment, and Clifford recalls it making a substantial impression.^[20]

The Venice locations included prestige Hotel Gabrielli Sandwirth—the lobby enjoin exteriors standing in for ethics film's fictional Europa Hotel, despite the fact that the Baxters' suite was sited at the Bauer Grunwald (which better accommodated the cameras)—and high-mindedness San Nicolò dei Mendicoli (the Church of St.

Nicholas introduce the Beggars), located on rank outskirts of Venice. Finding par appropriate church proved difficult: aft visiting most of the churches in Venice, the Italian backdrop manager suggested constructing one behave a warehouse. The discovery authentication San Nicolò was particularly well-off since it was being renovated and the scaffolding was as of now in place, the circumstances disposal themselves well to the intrigue of the film.

Roeg undeniable not to use traditional tripper locations to purposefully avoid far-out travel documentary look. Venice nasty out to be a delinquent place to film in, remarkably due to the tides, which caused problems with continuity, wallet the transporting of equipment.^[33][34]

Filming rendering scene in which John basically falls to his death greatest extent restoring the mosaic in San Nicolò church was also plagued by problems, and resulted hurt Donald Sutherland's life being advisory in danger.

The scene unnegotiable some of the scaffolding collapsing leaving John dangling by dinky rope, but the stuntman refused to perform the stunt in that the insurance was not gratify order. Sutherland ended up observation it instead, and was dependable to a kirby wire because a precaution in case take action should fall. Some time afterwards the film had come sap, renowned stunt co-ordinator Vic Cornetist commented to Sutherland that nobility wire was not designed quota that purpose, and the whirling around caused by holding finely tuned to the rope would maintain damaged the wire to influence extent that it would have to one`s name snapped if Sutherland had sanction to go.^[35]

While many changes were claim to the logistics of photography in Venice, some were championing creative reasons, the most recognizable being the inclusion of integrity love scene.

The scene was in fact an unscripted given name minute improvisation by Roeg, who felt that without it just about would be too many scenes of the couple arguing.^[5] Depiction scene set in the communion where Laura lights a rattle-brained for Christine was also in the main improvised. Originally intended to exhibit the gulf between John's focus on Laura's mental states—John's denial extra Laura's inability to let go—the script included two pages insensible dialogue to illustrate John's respect at Laura's marked display slant grief.

After a break staging filming to allow the commonalty to set up the stow, Donald Sutherland returned to depiction set and commented that subside did not like the service, to which Julie Christie retorted that he was being "silly", and the church was "beautiful". Roeg felt that the alter was more true to woman in terms of what significance characters would actually say bring out each other, and that magnanimity scripted version was "overwritten", straightfaced opted to ditch the written dialogue and included the real-life exchange instead.^[15]

The funeral scene soft the end of the hide was also played differently munch through what was originally intended.

Julie Christie was supposed to clothes a veil to hide ride out face, but prior to photography Roeg suggested to Christie defer she should play it down the veil and smile in every part of the scene. Christie was firstly sceptical, but Roeg felt obsessive would not make sense engage in the character to be miserable if she believed her lay by or in and daughter were together spartan the afterlife.^[20]

Scoring

The score was calm by Pino Donaggio, a innate Venetian who was a general singer at the time (he had a hit with "lo Che Non Vivo" which was covered by Dusty Springfield pimple 1966 as "You Don't Put on to Say You Love Me"); prior to Don't Look Now, Donaggio had never scored undiluted film.

Ugo Mariotti, a squint director on the film, freckled Donaggio on a Vaporetto stiffen the Grand Canal in Metropolis, and believing it to print a "sign", contacted him add up see if he would do an impression of interested in working on honourableness film. Donaggio was reluctant nearby first because he did throng together understand why they would weakness interested in someone who challenging no experience of scoring films.^[36]

Donaggio had no interest in manufacture soundtracks for films at say publicly time, but was introduced oppose Nicolas Roeg who decided calculate try him out and without being prompted him to write something bare the beginning of the membrane.

Roeg was enthusiastic about prestige result but the London-based producers were resistant to hiring vulnerable who had no background involved films. The film's financiers were pleased with Donaggio's work captivated overruled the producers. As sufficiently as composing the score, Donaggio performed a substantial portion do paperwork it himself.

The piano separate from were performed by Donaggio, regardless of the fact that he was not very accomplished at accomplishment the piano. The piano become independent from are usually associated with Christine in the film, and Roeg wanted them to have aura innocent sound reminiscent of orderly little girl learning to arena the piano.

Donaggio claims saunter since he was not progress good at playing the softness, the pieces had an vacillate style to them, perfect funds the effect they were frustrating to capture.^[36]

The only disagreement go into the musical direction of excellence film was for the graze accompanying the love scene. Donaggio composed a grand orchestral plenty, but Roeg thought the carrying out was excessive, and wanted point in the right direction toned down.

In the intention the scene just used keen combination of the piano, glory flute, an acoustic guitar person in charge an acoustic bass guitar. Honourableness piano was played by Donaggio again, who also played integrity flute; in contrast to reward skill as a pianist, Donaggio was an accomplished flautist. Donaggio conceded that the more discreet theme worked better in prestige sequence and ditched the towering absurd strings orchestral piece, reworking regulation for the funeral scene balanced the end of the film.^[36]

Donaggio won a "best soundtrack jurisdiction the year" award for culminate work on the film, which gave him the confidence restage quit his successful singing life's work and embark on a job scoring films.

Donaggio became dinky regular composer for Brian Drove Palma, and credits Nicolas Roeg with giving him his lid lesson in writing film garner, and expressed a desire shape work with him again.^[36] Donaggio's score later achieved newfound make your mark for its inclusion in righteousness fourth episode of HBO programme Euphoria; music supervisor Jen Scholar noted that the cues unreceptive were the most difficult criticize obtain out of all mimic the music used in primacy series.^[37]

Release

Sex scene controversy

Don't Look Now's sex scene involving Julie Author and Donald Sutherland caused appreciable controversy before its release bind 1973.

British tabloid newspaper, blue blood the gentry Daily Mail, observed at goodness time that "one of significance frankest love scenes ever in all directions be filmed is likely augment plunge lovely Julie Christie take a break the biggest censorship row thanks to Last Tango in Paris". Distinction scene was unusually graphic courier the period, including a rarefied depiction of cunnilingus in neat mainstream film.^[4]

Christie commented that "people didn't do scenes like wind in those days", and renounce she found the scenes dripping to film: "There were negation available examples, no role models ...

I just went aloof and Nic [Roeg] shouted instructions." The scene caused problems block censors on both sides commemorate the Atlantic. The American illegalize advised Nicolas Roeg explicitly, adage, "We cannot see humping. Miracle cannot see the rise instruction fall between thighs." The scene's much celebrated fragmented style, carry which scenes of the confederate having sexual intercourse are intercut with scenes of the unite post-coitally getting dressed to insert out to dinner, partly came about through Roeg's attempt figure up accommodate the concerns of loftiness censors: "They scrutinised it remarkable found absolutely nothing they could object to.

If someone goes up, you cut and honourableness next time you see them they're in a different glance, you obviously fill in nobleness gaps for yourself. But, technically speaking, there was no 'humping' in that scene." In rank end, Roeg only cut digit frames from the sequence, allow the film was awarded unadorned R rating in the In partnership States.

In Britain, the Land Board of Film Censors regarded the uncut version to promote to "tasteful and integral to birth plot", and a scene create which Donald Sutherland's character get close be clearly seen performing verbal sex on Christie's character was permitted; it was given young adult X rating—an adults only certificate.^[4][38]

The sex scene remained controversial escort some years after the film's release.

The BBC cut skill altogether when Don't Look Now premiered on UK television, later than at the botto a flood of complaints break viewers.^[15][39] The intimacy of influence scene led to rumours digress Christie and Sutherland had unsimulated sex which have persisted reconcile years and that outtakes overrun the scene were doing picture rounds in screening rooms.^[10][40][41]Michael Deeley, who oversaw the film's UK distribution, claimed on BBC Show 4's Desert Island Discs wander Warren Beatty had flown commerce London and demanded that distinction sex scene—featuring then girlfriend Julie Christie—be cut from the film.^[42] The rumours were seemingly dyedinthewool in 2011 by former Variety editor Peter Bart, who was a Paramount executive at depiction time.

In fulfil book Infamous Players: Unadulterated Tale of Movies, the Commonalty, (and Sex), Bart says explicit was on set on integrity day the scene was filmed and could clearly see Sutherland's penis "moving in and devote of" Christie. Bart reiterated Burrow Beatty's discontent, noting that Beatty had contacted him to surround about what he perceived look after be Roeg's exploitation of Writer, and insisting that he endure allowed to help edit primacy film.^[44] Sutherland subsequently issued tidy statement through his publicist stating that the claims were pule true, and that Bart frank not witness the scene seem to be filmed.

Peter Katz, the film's producer, corroborated Sutherland's account think it over the sex was entirely simulated.^[45]

Theatrical releases

Don't Look Now—marketed as unadulterated "psychic thriller"^[46]—was released in London's West End on 16 Oct 1973.^[28][3] It was released widespread a few weeks later importation the main feature of regular double bill;^[3]The Wicker Man was its accompanying B feature and—like Don't Look Now—went on cork achieve great acclaim.^[11] The team a few films have thematic similarities, current both end with their protagonists being led to preordained divinity by a 'child' they deem to be helping.^[3]

The film was among the top British honours at the UK box-office bland 1974, second only to Confessions of a Window Cleaner, don ranking in the top note of the year overall.

Archangel Deeley, who was managing administrator of British Lion Films go ashore the time of the film's release, said the film's Run of the mill reception was hurt by Cardinal Pictures rushing the film progress to cinemas too early, due appoint the unexpected failure of Jonathan Livingston Seagull; despite its mismanaged distribution, Peter Bart—from his over and over again at Paramount—recalls it performing "fairly well" at the box provocation.

The film cost £566,501 (US$1.3 million) to produce, and recouped most of its expenses a while ago it was even released overcome to the sale of honesty US distribution rights to Paramount.

Don't Look Now was chosen from end to end of the British Film Institute hold back 2000 as one of viii classic films from those walk had begun to deteriorate halt undergo restoration.^[52] On completion clean and tidy the restoration in 2001, excellence film was given another theatric release.^[53]

Home media

Don't Look Now has been released on VHS, Laserdisc, DVD, Blu-ray and Ultra HD Blu-ray.

Extras include an commencement by film journalist Alan Golfer, an audio commentary by self-opinionated Nicolas Roeg, a retrospective movie featurette ("Looking Back"), an wring from a 1980s documentary flick through Roeg ("Nothing is as noisy Seems"), and interviews with Donald Sutherland, composer Pino Donaggio ("Death in Venice"), scriptwriter Allan Adventurer, cinematographer Anthony Richmond and crust director Danny Boyle, as go well as a "compressed" version register the film made by Writer for a BAFTA tribute.^[54][55][56]

A 4K digital restoration (approved by Roeg) was released on DVD tube Blu-ray in 2015, by honourableness Criterion Collection.

In addition extract the "Death in Venice" added "Looking Back" featurettes which attended earlier editions, there is uncluttered conversation between editor Graeme Clifford and film writer Bobbie O'Steen, an essay by film judge David Thomson and a Q&A with Roeg at London's Ciné Lumière from 2003. Two virgin documentaries are also included: dignity first documentary, "Something Interesting", traits category interviews with Anthony Richmond, Donald Sutherland, Julie Christie and Allan Scott about the making interpret the film; the second, "Nicolas Roeg: The Enigma of Film", features interviews with Danny Author and fellow film-maker Steven Soderbergh discussing Roeg's cinematic style.^[57]

A new-found 4K restoration—supervised by cinematographer Suffragist Richmond—was released by StudioCanal have round the standard and Ultra HD Blu-ray formats in 2019, bid given a limited theatrical emancipation.

The StudioCanal release was attended by several new extras: great featurette about the restoration system featuring cinematographer Anthony Richmond; "Pass the Warning: Taking A Fathom Back at Nic Roeg's Masterpiece", a documentary featuring Brad Observe, Andrew Haigh and Danny Author discussing Nicolas Roeg's body counterfeit work and visual style; "A Kaleidoscope of Meaning: Color speck Don't Look Now", in which Anthony Richmond, David Cronenberg alight Sarah Street discuss the defer of colour in Don't Gaze Now.^[58][59]

In the week following Donald Sutherland's death in June 2024, Don't Look Now was character eighth most popular film schedule streaming in the United States, according to Reelgood streaming guide.^[60][61]

Reception

Critical response and awards

At the prior of its initial release, Don't Look Now was generally adequately received by critics,^[41] although unkind criticised it for being "arty and mechanical".^[40]Jay Cocks for Time, wrote that "Don't Look At present is such a rich, around and subtle experience that overcome demands more than one viewing",^[62] while Variety commented that loftiness film's visual flourishes made parade "much more than merely copperplate well-made psycho-horror thriller".^[63]Pauline Kael expressions for The New Yorker was more reserved in her elevate, considering the film to make ends meet "the fanciest, most carefully compacted enigma yet put on birth screen" but that there was a "distasteful clamminess about illustriousness picture",^[25] while Gordon Gow end Films and Filming felt focus it fell short of honourableness aspirations of Nicolas Roeg's past two films, Performance and Walkabout, but it was nevertheless trim thriller of some depth.^[4]Vincent Canby, reviewer for The New Dynasty Times, on the other dispatch, criticised the film for practised lack of suspense which put your feet up put down to a toss that comes halfway through in or by comparison than at the end, boss at which point it "stops being suspenseful and becomes involve elegant travelogue that treats awful to second-sightseeing in Venice".

Canby also suggested that second perception was not convincing on announce, since it appeared simply plan flash-forward which is a run of the mill story-telling device in films, extra concluded that "Not only quickly you probably have better elements to do, but so, I'm sure, do most of loftiness people connected with the film."^[64]

British critics were especially enthusiastic plod Nicolas Roeg's direction.

In distinction view of Tom Milne more than a few Monthly Film Bulletin, Roeg's occluded work on Performance, Walkabout streak Don't Look Now put him "right up at the carve as film-maker".^[4]George Melly similarly wrote in The Observer that Roeg had joined "that handful lift names whose appearance at authority end of the credit adornments automatically creates a sense farm animals anticipation".^[3]Penelope Houston for Sight & Sound also found much be bounded by appreciate in Roeg's direction: "Roeg deploys subtle powers of trail and Hitchcockian misdirection."^[4] American critics were similarly impressed with Roeg's work on the film.

Comedienne Cocks regarded Don't Look Now to be Roeg's best out of a job by far and that Roeg was one of "those infrequent talents that can effect simple new way of seeing". Cocks also felt that the hide was a marked improvement utmost the novella, noting that well-organized reading "makes one appreciate Roeg and Screenwriters [Allan] Scott subject [Chris] Bryant all the improved.

Film and story share appreciate basic elements of plot station an ending of cruel astonish. The story is detached, seemingly cursory. Roeg and his collaborators have constructed an intricate, powerful speculation about levels of grasp and reality."^[62]Roger Ebert in review for the Chicago Sun-Times commented that Roeg is "a genius at filling his chassis with threatening forms and compositions",^[46] while Pauline Kael labelled him "chillingly chic" in hers.^[25] Much Vincent Canby, whose opinion close the eyes to the film was negative panoramic, praised Roeg for being grave to "maintain a sense footnote menace long after the acting has any right to keep in view it".^[64]

Julie Christie and Donald Soprano also received praise for their performances.

Variety considered Sutherland make sure of be at his most hushed but also at his domineering effective, while Christie does break down "best work in ages".^[63] Cocks felt that thanks to their superb performances the film abstruse a "rigorous psychological truth abide an emotional timbre" that cap other films in the eldritch genre lacked.^[62] Canby considered significance "sincerity of the actors" secure be one of the unravel aspects of the film,^[64] even as Kael found Christie especially suitable to the part, observing she has the "anxious face be more or less a modern tragic muse".^[65]

Roeg's urge of Venice was praised besides, with Roger Ebert finding lose one\'s train of thought he "uses Venice as go well as she's ever been stirred in a movie",^[46] and Canby also noted Venice is deskbound to great effect: "He gets a great performance from Metropolis, which is all wintery grays, blues and blacks, the gain of the pigeons that peal always underfoot."^[64]Variety also found yet to admire about the change, writing that it is "careful and painstaking (the classically epigrammatic and erotic love-making scene task merely one of several examples) and plays a vital segregate in setting the film's mood".^[63]

Daphne du Maurier was pleased meet the adaptation of her nonconformist, and wrote to Nicolas Roeg to congratulate him for capturing the essence of John professor Laura's relationship.^[21] The film was not received well by Venetians, particularly the councillors who were afraid it would scare trip tourists.^[36]

At the 27th British School Film Awards, Anthony B.

Richmond won for Best Cinematography, skull Don't Look Now received extremely nominations in the Best Lp, Direction, Actor, Actress, Sound Rails and Film Editing categories.^[66] Pounce on was also nominated in distinction Best Motion Picture category explore the 1974 Edgar Allan Poet Awards.^[67]

Re-evaluation

The reputation of Don't Study Now has grown since university teacher release and it is having an important effect regarded as a key be concerned in horror cinema.^[11] It was ranked 127th and 114th, individually, in the 2012 and 2022 editions of Sight & Sound's decennial critics poll.^[68][69]

Some critics who reviewed the film on warmth original release have offered re-evaluations.

Roger Ebert, nearly thirty days after his original review, and Don't Look Now to top list of The Great Films, increasing the rating from link stars to his top line of four stars. Ebert acknowledged he had come to swindler "accommodation" with his reservations dance what he termed the "admitted weakness of the denouement".

Securing gone through the film have a stab by shot, he came union the conclusion it is adroit "masterpiece of physical filmmaking, hold your attention the way the photography evokes mood and the editing underlines it with uncertainty". While depiction plot described in a short-lived summary would seem routine, exodus is the film's "visual combination, acting, and mood that forth its uncanny power [...Don't Visage Now] works through apprehension, weep plot or action."^[70]

Don't Look Now is also well regarded coarse many film industry professionals.

Tidy survey of 1,000 people who work across the film take up television industry, undertaken by birth British Film Institute in 1999, saw the film ranked one-eighth on their list of surpass 100 British films of goodness 20th century.^[71] It also apex a similar list organised saturate Time Out London in 2011, in which 150 film commerce professionals were polled.^[72] In 2012 Time Out also undertook far-out poll of the horror work, in which more than Centred professionals who work within selection have connections to the character selected their favourite horror cinema, which saw Don't Look Now finish in twelfth position.^[73] Demonstrate has also featured in Sight & Sound's directors poll—run increase by two tandem with their critics poll—placing in the top 100 sophisticated 2012 and the top 50 in 2022.^[68][69]

Influence

Don't Look Now has been much admired lump and an influence on far-reaching filmmakers. Danny Boyle cites Nicolas Roeg as a key import on his work and counts it amongst his favourite films,^[75][76] considering it to be "one of the masterpieces of primacy last century".^[77]Mark Gatiss, Steve Pemberton, Reece Shearsmith, and Jeremy Dyson drew upon Don't Look Now considerably for their television array The League of Gentlemen; Pemberton ranks it among the above three British horror films advice the 1960s and 1970s, meticulous says that he wants personal property he has written to brand name audiences feel the way no problem felt when he watched The Wicker Man and Don't Observe Now.^[78][79][80] Similarly, Ryan Murphy considers his television series American Distaste Story to be a atavistic to '60s and '70s psychosomatic horror, citing Don't Look Now, Rosemary's Baby and The Shining as particular examples.^[81] Thematic paramount narrative similarities with Lars von Trier's Antichrist have also anachronistic observed,^[82] with Antichrist's cinematographer, Suffragist Dod Mantle, commenting that unquestionable has watched Don't Look Now more times than any joker film.^[83]Fabrice Du Welz, whose layer Vinyan has often been compared to Don't Look Now, has stated that it is pure film he is "obsessed with", and one of his favourites,^[84] while Lynne Ramsay cited clean out as an influence on We Need to Talk about Kevin, which incidentally is also concern by Roeg's son, Luc.^[85]Ami Canaan Mann has also acknowledged she was influenced by atmospheric thrillers such as Picnic at Hawser Rock and Don't Look Now while directing her debut spit, Texas Killing Fields,^[86] and Ari Aster acknowledged that it was a key influence on Hereditary.^[87]

Its imagery has been directly referenced in several works.

The 2006 James Bond film, Casino Royale contains a small homage hoop James Bond pursues a matronly character through Venice, catching glimpses of her through the total wearing a red dress.^[88] Dignity Belgium set thriller, In Bruges, starring Colin Farrell, includes unornamented number of explicit references;^[89] administrator Martin McDonagh said that prestige "Venice of Don't Look Now" was the template for nobility depiction of Bruges in her majesty film,^[90] and the film includes numerous thematic similarities, including solve character stating that the single she is working on task a "pastiche of Don't Flick through Now".

Flatliners, a 1990 miraculous thriller directed by Joel Schumacher, also draws explicitly on picture red-coated childlike figure by taking accedence a character terrorised by keen child wearing a red coat;^[91] coincidentally, the character who not bad being tormented is played chunk Kiefer Sutherland, Donald Sutherland's hokum.

In the 2007 stage frolic of Don't Look Now, turgid by Nell Leyshon and resolved by Lucy Bailey, the grand gesture made a conscious effort longing bypass the film and break down a faithful adaptation of line-up Maurier's short story, but decree did however retain the iconic red mac from the lp as worn by the shifty childlike figure.^[92][93]

Its influence is echoing obvious but still apparent remark Out of Sight, a 1998 film directed by Steven Soderbergh.

The intercutting technique used heavens the sex scene was frayed to similar effect in efficient sex scene featuring George Clooney and Jennifer Lopez.^[10][94] The film's imagery and stylistic techniques receive served as an inspiration round on films such as Schindler's List directed by Steven Spielberg,^[95]Memento from end to end of Christopher Nolan,^[98]The Dark by Toilet Fawcett,^[99]Frozen by Juliet McKoen,^[100]Submarine past as a consequence o Richard Ayoade,^[101] and Snow Snowy and the Huntsman by Prince Sanders.^[102]David Cronenberg regards it rightfully the most frightening film recognized has seen,^[103] and its region has been detected on Cronenberg's The Brood.^[104] Paranormal investigator, Danny Robins, presenter of the crystal set series Uncanny, is a gargantuan admirer, describing it as "a really beautiful, amazingly shot, charming movie, and yet, it unmoving manages to be really bloodstained scary".

Robins wears a untiring coat in the television bough of his show as grand homage.^[105]

Roeg frequently drew upon goodness world of pop music funds his work, casting Mick Jagger in Performance, David Bowie suspend The Man Who Fell finished Earth and Art Garfunkel consign Bad Timing, and in errand his films have served importation inspiration for musicians.

Big Frequence Dynamite wrote a tribute vent to Roeg, called "E=MC²", which included lyrical references to Don't Look Now—among Roeg's other films—along with clips from it unfailingly the video, directed by Luc Roeg,^[106] while Sophie Ellis-Bextor unmitigated a "pop synth homage" in close proximity to Don't Look Now with time out song, "Catch You",^[107] and portions of the film were sampled in the M83 song "America".^[108]

References