Don't Look Now - Knowledge

457:, and in Nicolas Roeg's work in general. Time is presented as 'fluid', where the past, present and future can all exist in the same timeframe. John's premonitions merge with the present, such as at the start of the film where the mysterious red-coated figure is seemingly depicted in one of his photographic slides, and when he 'sees' Laura on the funeral barge with the sisters and mistakenly believes he is seeing the present, but in fact it is a vision of the future. A prominent use of this fragmented approach to time is during the love scene, in which the scenes of John and Laura having sex are intercut with scenes of them dressing afterwards to go out to dinner. After John is attacked by his assailant in the climactic moments, the preceding events depicted during the course of the film are recalled through flashback, which may be perceived as his life flashing before his eyes. At a narrative level the plot of 966:

arguing. The scene set in the church where Laura lights a candle for Christine was also mostly improvised. Originally intended to show the gulf between John's and Laura's mental states—John's denial and Laura's inability to let go—the script included two pages of dialogue to illustrate John's unease at Laura's marked display of grief. After a break in filming to allow the crew to set up the equipment, Donald Sutherland returned to the set and commented that he did not like the church, to which Julie Christie retorted that he was being "silly", and the church was "beautiful". Roeg felt that the exchange was more true to life in terms of what the characters would actually say to each other, and that the scripted version was "overwritten", so opted to ditch the scripted dialogue and included the real-life exchange instead.

360:, accompanied by the sisters. Concerned about his wife's mental state and with reports of a serial killer at large in Venice, John reports Laura's seeming disappearance to the police. The inspector investigating the killings is suspicious of John and has him followed. After conducting a futile search for Laura and the sisters—during which he again sees the childlike figure in the red coat—John contacts his son's school to enquire about his condition, only to discover that Laura is actually there. After speaking to her to confirm she really is in England, a bewildered John returns to the police station to inform the police he has found his wife. In the meantime, the police have brought Heather in for questioning, and an apologetic John offers to escort her back to the hotel. 949:(the Church of St. Nicholas of the Beggars), located on the outskirts of Venice. Finding an appropriate church proved difficult: after visiting most of the churches in Venice, the Italian location manager suggested constructing one in a warehouse. The discovery of San Nicolò was particularly fortunate since it was being renovated and the scaffolding was already in place, the circumstances lending themselves well to the plot of the film. Roeg decided not to use traditional tourist locations to purposefully avoid a travel documentary look. Venice turned out to be a difficult place to film in, mainly due to the tides, which caused problems with continuity, and the transporting of equipment. 401:

presence of Christine, the Baxters' deceased daughter, weighs heavily on the mood of the film, as she and the nature of her death are constantly recalled through the film's imagery: there are regular flashbacks to Christine playing in her red coat as well as the sightings of the mysterious childlike figure also wearing a red coat which bears a likeness to her; the constant association of water with death is maintained via a serial-killer sub-plot, which sees victims periodically dragged from the canals; there is also a moment when John fishes a child's doll out of a canal just as he did with his daughter's body at the beginning of the film.

1224:, Bart says he was on set on the day the scene was filmed and could clearly see Sutherland's penis "moving in and out of" Christie. Bart reiterated Warren Beatty's discontent, noting that Beatty had contacted him to complain about what he perceived to be Roeg's exploitation of Christie, and insisting that he be allowed to help edit the film. Sutherland subsequently issued a statement through his publicist stating that the claims were not true, and that Bart did not witness the scene being filmed. Peter Katz, the film's producer, corroborated Sutherland's account that the sex was entirely simulated. 1464:, on the other hand, criticised the film for a lack of suspense which he put down to a twist that comes halfway through rather than at the end, and at which point it "stops being suspenseful and becomes an elegant travelogue that treats us to second-sightseeing in Venice". Canby also suggested that second sight was not convincing on screen, since it appeared simply like flash-forward which is a standard story-telling device in films, and concluded that "Not only do you probably have better things to do, but so, I'm sure, do most of the people connected with the film." 420:, but the decision was taken to change the cause of death to drowning and to include a prologue to exploit the water motif. The threat of death from falling is also ever present throughout the film: besides Christine falling into the lake, Laura is taken to hospital after her fall in the restaurant, their son Johnny is injured in a fall at boarding school, the bishop overseeing the church restoration informs John that his father was killed in a fall, and John himself is nearly killed in a fall during the renovations. Glass is frequently used as an 5230: 5214: 982: 937:, who also plays the headmaster at the son's boarding school. Shooting the sequence was particularly problematic: Sharon Williams, who played Christine, became hysterical when submersed in the pond, despite the rehearsals at the swimming pool going well. A farmer on the neighbouring land volunteered his daughter who was an accomplished swimmer, but who refused to be submerged when it came to filming. In the end, the scene was filmed in a water tank using three girls. Nicolas Roeg and editor 502:, by manifesting its protagonist's psychology in plot developments: in taking their trip to Venice the Baxters have run away from personal tragedy, and are often physically depicted as running to and from things during their stay in Venice; the labyrinthine geography of Venice causes John to lose his bearings, and he often becomes separated from Laura and is repeatedly shown to be looking for her—both physical realisations of what is going on in his head. 1530: 438:

difference between the restored church windows and the "real thing", and later in the film John attempts to make a seamless match between recently manufactured tiles and the old ones in repairing an ancient mosaic. Roeg describes the basic premise of the story as principally being that in life "nothing is what it seems", and even decided to have Donald Sutherland's character utter the line—a scene which required fifteen takes.

405: 445:. This is best exemplified by the blind psychic woman, Heather, who communicates with the dead, but it is presented in other ways: the language barriers are purposefully enhanced by the decision to not include subtitles translating the Italian dialogue into English, so the viewer experiences the same confusion as John. Women are presented as better at communicating than men: besides the 1112: 416:, combined with unorthodox editing techniques, foreshadows key events in the film. In Daphne du Maurier's novella it is Laura that wears a red coat, but in the film the colour is used to establish an association between Christine and the elusive figure that John keeps catching glimpses of. Du Maurier's story actually opens in Venice following Christine's death from 325:

also employs flashbacks and flashforwards in keeping with the depiction of precognition, but some scenes are intercut or merged to alter the viewer's perception of what is really happening. It adopts an impressionist approach to its imagery, often presaging events with familiar objects, patterns and colours using associative editing techniques.

1329:, an audio commentary by director Nicolas Roeg, a retrospective documentary featurette ("Looking Back"), an extract from a 1980s documentary about Roeg ("Nothing is as it Seems"), and interviews with Donald Sutherland, composer Pino Donaggio ("Death in Venice"), scriptwriter Allan Scott, cinematographer Anthony Richmond and film director 367:. John quickly leaves. Upon coming out of the trance, Heather pleads with her sister to go after John, sensing that something terrible is about to happen, but Wendy is unable to catch up with him. Meanwhile, John catches another glimpse of the mysterious figure in red and this time pursues it. He corners the figure in a deserted 1591:

termed the "admitted weakness of the denouement". Having gone through the film shot by shot, he came to the conclusion it is a "masterpiece of physical filmmaking, in the way the photography evokes mood and the editing underlines it with uncertainty". It was ranked 127th and 114th, respectively, in the 2012 and 2022 editions of

1080:. The piano was played by Donaggio again, who also played the flute; in contrast to his skill as a pianist, Donaggio was an accomplished flautist. Donaggio conceded that the more low-key theme worked better in the sequence and ditched the high strings orchestral piece, reworking it for the funeral scene at the end of the film. 494:, when a woman's scream cuts to the whistle of a steam train. When John reports Laura's disappearance to the Italian police he inadvertently becomes a suspect in the murder case they are investigating—an innocent man being wrongly accused and pursued by the authorities is a common Hitchcock trait. The film also takes a 1284:; despite its mismanaged distribution, Peter Bart—from his time at Paramount—recalls it performing "fairly well" at the box office. The film cost £566,501 (US$ 1.3 million) to produce, and recouped most of its expenses before it was even released due to the sale of the US distribution rights to Paramount. 344:

Laura is taken to the hospital, where she later tells John what Heather told her. John is sceptical but pleasantly surprised by the positive change in Laura's demeanour. That evening after returning from the hospital, John and Laura have passionate sex. Afterwards, they go out to dinner, and en route

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are intercut with scenes of the couple post-coitally getting dressed to go out to dinner, partly came about through Roeg's attempt to accommodate the concerns of the censors: "They scrutinised it and found absolutely nothing they could object to. If someone goes up, you cut and the next time you see

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pieces were performed by Donaggio, despite the fact that he was not very accomplished at playing the piano. The piano pieces are usually associated with Christine in the film, and Roeg wanted them to have an innocent sound reminiscent of a little girl learning to play the piano. Donaggio claims that

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Filming the scene in which John nearly falls to his death while restoring the mosaic in San Nicolò church was also beset by problems, and resulted in Donald Sutherland's life being put in danger. The scene entailed some of the scaffolding collapsing leaving John dangling by a rope, but the stuntman

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ghost story serve to explore the minds of a grief-stricken couple. The film's director, Nicolas Roeg, was intrigued by the idea of making "grief into the sole thrust of the film", noting that "Grief can separate people ... Even the closest, healthiest relationship can come undone through grief." The

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Roeg's use of Venice was praised too, with Roger Ebert finding that he "uses Venice as well as she's ever been used in a movie", and Canby also noted Venice is used to great effect: "He gets a great performance from Venice, which is all wintery grays, blues and blacks, the color of the pigeons that

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feature scenes where the whole screen turns red, similar in nature to the scene during Christine's drowning when the spilt water on the church slide causes a reaction that makes it—along with the whole screen—turn completely red. The mysterious red-coated figure and its association with death has a

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is an exploration of the psychology of grief and the effect the death of a child can have on a relationship. The film is renowned for its innovative editing style, recurring motifs and themes, and for a controversial sex scene that was explicit by the standards of contemporary mainstream cinema. It

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to be Roeg's best work by far and that Roeg was one of "those rare talents that can effect a new way of seeing". Cocks also felt that the film was a marked improvement on the novella, noting that a reading "makes one appreciate Roeg and Screenwriters Scott and Bryant all the more. Film and story

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and a Q&A with Roeg at London's Ciné Lumière from 2003. Two new documentaries are also included: the first documentary, "Something Interesting", features interviews with Anthony Richmond, Donald Sutherland, Julie Christie and Allan Scott about the making of the film; the second, "Nicolas Roeg:

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Christie commented that "people didn't do scenes like that in those days", and that she found the scenes difficult to film: "There were no available examples, no role models ... I just went blank and Nic shouted instructions." The scene caused problems with censors on both sides of the Atlantic.

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Donaggio had no interest in making soundtracks for films at the time, but was introduced to Nicolas Roeg who decided to try him out and asked him to write something for the beginning of the film. Roeg was enthusiastic about the result but the London-based producers were resistant to hiring someone

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The funeral scene at the end of the film was also played differently from what was originally intended. Julie Christie was supposed to wear a veil to hide her face, but prior to filming Roeg suggested to Christie that she should play it without the veil and smile throughout the scene. Christie was

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Some time after the drowning of their young daughter Christine in an accident at their English country home, John Baxter and his grief-stricken wife Laura travel to Venice where John has accepted a commission from a bishop to restore an ancient church. Laura encounters two elderly sisters, Heather

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has grown since its release and it is now regarded as a key work in horror cinema. It has led to some critics re-evaluating their original opinions of it: Roger Ebert, nearly thirty years after his original review, stated that he had come to an "accommodation" with his reservations about what he

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While many changes were due to the logistics of filming in Venice, some were for creative reasons, the most prominent being the inclusion of the love scene. The scene was in fact an unscripted last minute improvisation by Roeg, who felt that without it there would be too many scenes of the couple

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that something bad is about to occur: just before Christine drowns, John knocks a glass of water over, and Johnny breaks a pane of glass; as Laura faints in the restaurant she knocks glassware off the table, and when John almost falls to his death in the church, a plank of wood shatters a pane of

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commented that Roeg is "a genius at filling his frame with threatening forms and compositions", while Pauline Kael labelled him "chillingly chic" in hers. Even Vincent Canby, whose opinion of the film was negative overall, praised Roeg for being able to "maintain a sense of menace long after the

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I just thought that it was a beautifully shot, really adult look at real-life horror stories, and there was a great degree of sexuality in it that, as a young kid, when I saw it, I remember I was very startled by. It felt very brave to me, and I think it still holds up. Nick Roeg is a brilliant

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in the standard and Ultra HD Blu-ray formats in 2019, and given a limited theatrical release. The StudioCanal release was accompanied by several new extras: a featurette about the restoration process featuring cinematographer Anthony Richmond; "Pass the Warning: Taking A Look Back at Nic Roeg's

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considered Sutherland to be at his most subdued but also at his most effective, while Christie does her "best work in ages". Cocks felt that thanks to their superb performances the film had a "rigorous psychological truth and an emotional timbre" that most other films in the supernatural genre

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to try to contact Christine. When she returns to the hotel, Laura informs John that Christine said he is in danger and must leave Venice. John argues with Laura, but that night they receive a telephone call informing them that their son has been injured in an accident at boarding school. Laura

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and duplicates feature prominently in the film: reproductions are a constantly recurring motif ranging from reflections in the water, to photographs, to police sketches and the photographic slides of the church John is restoring. Laura comments in a letter to their son that she can't tell the

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were suggested for the parts of Laura and John Baxter, Roeg was eager to cast Julie Christie and Donald Sutherland from the very start. Initially engaged by other projects, both actors unexpectedly became available. Christie liked the script and was keen to work with Roeg, who had served as

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Daphne du Maurier was pleased with the adaptation of her story, and wrote to Nicolas Roeg to congratulate him for capturing the essence of John and Laura's relationship. The film was not received well by Venetians, particularly the councillors who were afraid it would scare away tourists.

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being female, it is Laura who stays in regular contact with their son, Johnny; when the Baxters receive a phone call informing them of Johnny's accident at the boarding school, the headmaster's inarticulateness in explaining the situation causes his wife to intercept and explain instead.

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and approaches, believing it to be a child. The figure turns to face him, revealing that it is a hideous female dwarf. When John freezes in shock, the dwarf pulls out a meat cleaver and cuts his throat. Dying, John realises too late that the strange sightings he experienced were

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in Venice, and believing it to be a "sign", contacted him to see if he would be interested in working on the film. Donaggio was reluctant at first because he did not understand why they would be interested in someone who had no experience of scoring films.

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departs for England, while John stays on to complete the restoration. Shortly afterwards, John is nearly killed in an accident at the church when the scaffold he is standing on collapses, and he interprets this as the "danger" foretold by the sisters.

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The plot of the film is preoccupied with misinterpretation and mistaken identity: when John sees Laura on the barge with the sisters, he fails to realise it is a premonition and believes Laura is in Venice with them. John himself is mistaken for a

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The Venice locations included the Hotel Gabrielli Sandwirth—the lobby and exteriors standing in for the film's fictional Europa Hotel, although the Baxters' suite was located at the Bauer Grunwald (which better accommodated the cameras)—and the

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them they're in a different position, you obviously fill in the gaps for yourself. But, technically speaking, there was no 'humping' in that scene." In the end, Roeg only cut nine frames from the sequence, and the film was awarded an

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also found much to admire about the editing, writing that it is "careful and painstaking (the classically brilliant and erotic love-making scene is merely one of several examples) and plays a vital role in setting the film's mood".

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portray Laura and John Baxter, a married couple who travel to Venice following the recent accidental death of their daughter, after John accepts a commission to restore a church. They encounter two sisters, one of whom claims to be

918:, who were coming over to observe him. Roeg and Christie went along and sat in a circle in the pitch dark and joined hands. Flint instructed his guests to "uncross" their legs, which Roeg subsequently incorporated into the film. 1515:

share certain basic elements of plot and an ending of cruel surprise. The story is detached, almost cursory. Roeg and his collaborators have constructed an intricate, intense speculation about levels of perception and reality."

1088:, and credits Nicolas Roeg with giving him his first lesson in writing film scores, and expressed a desire to work with him again. Donaggio's score later achieved newfound recognition for its inclusion in the fourth episode of 961:

commented to Sutherland that the wire was not designed for that purpose, and the twirling around caused by holding on to the rope would have damaged the wire to the extent that it would have snapped if Sutherland had let go.

4401: 633:) investigate the drowning death of their daughter. In his view, Aldo "eliminat a lot of the extreme gore and sex , but still manages to create an aura of uneasiness with his Venetian locales just as Roeg did a year later". 1083:

Donaggio won a "best soundtrack of the year" award for his work on the film, which gave him the confidence to quit his successful singing career and embark on a career scoring films. Donaggio became a regular composer for

1979:, is a huge admirer, describing it as "a really beautiful, amazingly shot, artistic movie, and yet, it still manages to be really bloody scary". Robins wears a red coat in the television spin-off of his show as a homage. 1542:

lacked. Canby considered the "sincerity of the actors" to be one of the better aspects of the film, while Kael found Christie especially suited to the part, observing she has the "anxious face of a modern tragic muse".

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The American censor advised Nicolas Roeg explicitly, saying, "We cannot see humping. We cannot see the rise and fall between thighs." The scene's much celebrated fragmented style, in which scenes of the couple having

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also found much to appreciate in Roeg's direction: "Roeg deploys subtle powers of direction and Hitchcockian misdirection." American critics were similarly impressed with Roeg's work on the film. Jay Cocks regarded

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was more reserved in her praise, considering the film to be "the fanciest, most carefully assembled enigma yet put on the screen" but that there was a "distasteful clamminess about the picture", while Gordon Gow of

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films, due to its structure, cinematic language and focus on the psychological makeup of its protagonists sharing many characteristics with the Italian subgenre, although Anya Stanley has noted that it lacks the

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who had no background in films. The film's financiers were pleased with Donaggio's work and overruled the producers. As well as composing the score, Donaggio performed a substantial portion of it himself. The

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in 2000 as one of eight classic films from those that had begun to deteriorate to undergo restoration. On completion of the restoration in 2001, the film was given another theatrical release.

1862:, also draws explicitly on the red-coated childlike figure by having a character terrorised by a child wearing a red coat; coincidentally, the character who is being tormented is played by 4411: 1261:—went on to achieve great acclaim. The two films have thematic similarities, and both end with their protagonists being led to preordained fates by a 'child' they believe to be helping. 1693:; Pemberton ranks it among the top three British horror films of the 1960s and 1970s, and says that he wants things he has written to make audiences feel the way he felt when he watched 1115: 4510: 3115: 1844:" was the template for the depiction of Bruges in his film, and the film includes numerous thematic similarities, including one character stating that the film she is working on is a " 1627:

also undertook a poll of the horror industry, in which more than 100 professionals who work within or have connections to the genre selected their favourite horror films, which saw

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and informs them that their daughter is trying to contact them and warn them of danger. John at first dismisses their claims, but starts to experience mysterious sightings himself.

3418: 998: 1348:. In addition to the "Death in Venice" and "Looking Back" featurettes which accompanied earlier editions, there is a conversation between editor Graeme Clifford and film writer 425:

glass; finally, shortly before confronting the mysterious red clad figure, John asks the sisters for a glass of water, an item with a symbolic connection to Christine's death.

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Adelina Poerio was cast as the fleeting red-coated figure after Roeg saw her photo at a casting session in Rome. Standing at only 4'2" tall, she had a career as a singer.

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had flown to London and demanded that the sex scene—featuring then girlfriend Julie Christie—be cut from the film. The rumours were seemingly confirmed in 2011 by former

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initially sceptical, but Roeg felt it would not make sense for the character to be heartbroken if she believed her husband and daughter were together in the afterlife.

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were cast in the principal roles. Filming began in England in December 1972, breaking off for Christmas, and resuming in January 1973 for seven more weeks in Italy.

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cites Nicolas Roeg as a key influence on his work and counts it amongst his favourite films, considering it to be "one of the masterpieces of the last century".

1138:, observed at the time that "one of the frankest love scenes ever to be filmed is likely to plunge lovely Julie Christie into the biggest censorship row since 4837: 3837: 1326: 4736: 4115: 3781: 4087: 3583:"Don't Look Now (1973) – Film:'Don't Look Now,' a Horror Tale:Donald Sutherland and Julie Christie in Leads The Cast Suspense Yarn Turns Into a Travelogue" 3267: 345:

get lost and briefly become separated. John catches a glimpse of a small figure wearing a red coat similar to the one Christine was wearing when she died.

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and Danny Boyle discussing Nicolas Roeg's body of work and visual style; "A Kaleidoscope of Meaning: Color in Don't Look Now", in which Anthony Richmond,

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is also very well regarded by other industry professionals. A survey of 1,000 people who work across the film and television industry, undertaken by the

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judged the uncut version to be "tasteful and integral to the plot", and a scene in which Donald Sutherland's character can be clearly seen performing

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The film's reputation has grown in the years since its release and it is now considered a classic and an influential work in horror and British film.

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showed the opening sequence to some friends before filming resumed on the Venice segment, and Clifford recalls it making a considerable impression.

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in her review comments that "Roeg comes closer to getting Borges on the screen than those who have tried it directly", while Mark Sanderson in his

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premiered on UK television, causing a flood of complaints from viewers. The intimacy of the scene led to rumours that Christie and Sutherland had

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received further nominations in the Best Film, Direction, Actor, Actress, Sound Track and Film Editing categories. It was also nominated in the

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that Roeg had joined "that handful of names whose appearance at the end of the credit titles automatically creates a sense of anticipation".

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since he was not very good at playing the piano, the pieces had an unsure style to them, perfect for the effect they were trying to capture.

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and—despite being blind—informs Laura she is able to "see" the Baxters' deceased daughter. Shaken, Laura returns to her table, then faints.

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piece, but Roeg thought the effect was excessive, and wanted it toned down. In the end the scene just used a combination of the piano, the

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involving Julie Christie and Donald Sutherland caused considerable controversy before its release in 1973. British tabloid newspaper, the

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This article is about the film. For the short story by Daphne du Maurier from which it is adapted and the collection it appears in, see

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The only disagreement over the musical direction of the film was for the score accompanying the love scene. Donaggio composed a grand

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pursues a female character through Venice, catching glimpses of her through the crowds wearing a red dress. The Belgium set thriller,

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refused to perform the stunt because the insurance was not in order. Sutherland ended up doing it instead, and was attached to a

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was produced through London-based Casey Productions and Rome-based Eldorado Films, by producer Peter Katz and executive producer

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when he follows Laura to the séance, and ultimately he mistakes the mysterious red-coated figure for a child. The concept of

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was cast as Inspector Longhi, despite not being able to speak English and so he had no idea what he was saying in the film.

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portrayal of violence and sexuality typically associated with the form. In this regard, Danny Shipka has noted that

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Later that day, assuming that Laura is in England, John is shocked when he spots her on a passing boat in a funeral

5664: 2771: 1998: 1559: 1031:, a native Venetian who was a popular singer at the time (he had a hit with "lo Che Non Vivo" which was covered by 991: 884:

in which she had starred. Sutherland also wanted to make the film but had some reservations about the depiction of

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commented that the film's visual flourishes made it "much more than merely a well-made psycho-horror thriller".

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directors poll—run in tandem with their critics poll—placing in the top 100 in 2012 and the top 50 in 2022.

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was the eighth most popular film on streaming in the United States, according to Reelgood streaming guide.

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as a precaution in case he should fall. Some time after the film had come out, renowned stunt co-ordinator

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which have persisted for years and that outtakes from the scene were doing the rounds in screening rooms.

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regards it as the most frightening film he has seen, and its influence has been detected on Cronenberg's

1951: 1791: 1353: 4031: 1043:, Donaggio had never scored a film. Ugo Mariotti, a casting director on the film, spotted Donaggio on a 946: 5669: 5549: 5459: 5304: 5273: 5011: 4971: 4490: 4313: 3748: 3670: 2767: 1891:. The intercutting technique used in the sex scene was used to similar effect in a sex scene featuring 1695: 1249: 868: 649: 298: 87: 3375: 2867: 2252: 5360: 1814: 1719: 1613: 1413:

was generally well received by critics, although some criticised it for being "arty and mechanical".

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following Christine's death from Laura's scream to the screech of a drill is reminiscent of a cut in

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and not be destroyed by it". Roeg was resistant to any changes and issued Sutherland an ultimatum.

490: 462: 1270:, and ranking in the top twenty of the year overall. Michael Deeley, who was managing director of 5408: 4678: 3968:"'We Had In Our Midst A Picasso': Why Don't Look Now looks so different to any other horror film" 3615: 2929: 1926: 1689: 893: 559: 4645: 3441: 5246: 5161:

Smith, Justin (2014). "Calculated Risks: Film Finances and British Independents in the 1970s".

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based in Notting Hill, invited them to attend a session which he was holding for some American

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Communication is a theme that runs through much of Nicolas Roeg's work, and figures heavily in

4521: 3126: 1899:. The film's imagery and stylistic techniques have served as an inspiration to films such as 5384: 5297: 5110: 4614: 4583: 4397: 3148: 3015: 2024:—among Roeg's other films—along with clips from it in the video, directed by Luc Roeg, while 1941: 1709: 1473: 665: 73: 4552: 3030:"Forthcoming Peter Bart Book Answers Long-Simmering Question About Julie Christie Sex Scene" 1467:

British critics were especially enthusiastic about Nicolas Roeg's direction. In the view of

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should be a more "educative film", and that the "characters should in some way benefit from

3442:"Controversial 1973 Thriller with 93% Rotten Tomatoes Score Becomes Unlikely Streaming Hit" 1921: 1345: 1077: 1048: 593: 4371:"Flatliners (1990) Review/Film; Young Doctors Explore the Boundary Between Life and Death" 8: 5544: 4439: 4064: 3972: 2025: 1901: 1563: 1198: 1140: 933:

The drowning scene and house exteriors were filmed in Hertfordshire at the home of actor

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digital restoration (approved by Roeg) was released on DVD and Blu-ray in 2015, by the

1275: 1271: 1264:

The film was among the top British titles at the UK box-office in 1974, second only to

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for Roeg. Roeg's use of colour—especially red—can be traced back to earlier work: both

511: 188: 3549: 3205: 2829:"'Euphoria' Music Supervisor on Landing Air Supply, Arcade Fire and a Singing Zendaya" 562:

character. The fleeting glimpses of the mysterious red-coated figure possibly draw on

5513: 5208: 5145: 5090: 5065: 5040: 5015: 4975: 4950: 4922: 4895: 4776: 4744: 4123: 3913:"Film favourites: Politicians to pop stars reveal the movies that changed their life" 3711: 3293: 3101: 1916: 1888: 1863: 1801: 1735: 1521: 1442: 1358: 1032: 816: 700: 673: 653: 621: 605: 576: 413: 310: 302: 119: 93: 4993:

Blade Runners, Deer Hunters and Blowing the Bloody Doors Off: My Life in Cult Movies

1364:

A new 4K restoration—supervised by cinematographer Anthony Richmond—was released by

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Perverse Titillation: The Exploitation Cinema of Italy, Spain and France, 1960–1980

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

1176:

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

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felt that it fell short of the aspirations of Nicolas Roeg's previous two films,

1419: 1185: 1144:". The scene was unusually graphic for the period, including a rare depiction of 1073: 938: 466: 142: 1357:

The Enigma of Film", features interviews with Danny Boyle and fellow film-maker

434: 4641: 4088:"Don't Stop Screaming: The 'Glee' Guys Introduce Their 'American Horror Story'" 3323: 2248: 1956: 1946: 1911: 1896: 1892: 1730: 1435: 1244: 1189: 1085: 730: 720: 690: 669: 626: 397: 337:

and Wendy, at a restaurant where she and John are dining; Heather claims to be

306: 114: 5267: 4263: 2298:

Morrison, Alan (September 2006). "At Home: Masterpiece #36 – Don't Look Now".

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at the time of the film's release, said the film's US reception was hurt by

535:, which incidentally also starred Julie Christie, and Gibbs went on to edit 5321: 4865: 4804: 4709: 4650: 4619: 4588: 4557: 4526: 4495: 4318: 4309: 4209: 4154: 4036: 3238: 3153: 3131: 2960: 2898: 2889: 2568: 2525: 2257: 2192: 2134: 2094: 1970: 1883: 1871: 1766: 1680: 1495: 1490: 1430: 1382: 1374: 1240: 904: 885: 858: 710: 657: 597:. The film's setting and production status has also drawn comparisons with 584: 522: 495: 446: 315: 294: 289:'In Venice... a shocking red December') is a 1973 English-language 55: 3674: 1779:

has also acknowledged she was influenced by atmospheric thrillers such as

1278:

rushing the film into cinemas too early, due to the unexpected failure of

5127: 4968:

The Money Behind the Screen: A History of British Film Finance, 1945-1985

4732: 4205:"Cannes sensation Lynne Ramsay finds inspiration in her own family drama" 4092: 3699: 3089: 2660: 1993: 1983: 1668: 1664: 1575: 1516: 1365: 1330: 1193: 1145: 430: 5202: 3409:"New Trailer for 4K Restoration of Nicolas Roeg's Film 'Don't Look Now'" 1239:

on 16 October 1973. It was released nationwide a few weeks later as the

552:

direct parallel with an earlier film Roeg worked on as cinematographer,

41: 5424: 5368: 4938: 4915:

The British Film Industry in the 1970s: Capital, Culture and Creativity

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Roeg frequently drew upon the world of pop music for his work, casting

1854: 1623:

in 2011, in which 150 film industry professionals were polled. In 2012

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in the script. He felt it was handled too negatively and believed that

777: 484:, exhibiting several characteristics of the director's work. The aural 417: 5183: 4890: 2925:"Labyrinthine 'Look' Is Back – Roeg's '73 thriller reprised at Castro" 2815: 2477: 2337: 1529: 5036: 4259: 3963: 3495: 3058:"Donald Sutherland Unequivocally Denies 'Don't Look Now' Sex (Again)" 2033: 1965: 1828: 1796: 1663:

has been much admired by and an influence on subsequent filmmakers.

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Its imagery has been directly referenced in several works. The 2006

1333:, as well as a "compressed" version of the film made by Boyle for a 900: 591:

Modern Classics essay on the film, finds parallels with Nietzsche's

469:, Nicolas Roeg regarded the film as his "exercise in film grammar". 349: 5400: 3210: 2207: 1845: 1170: 1166: 2012:, and in turn his films have served as inspiration for musicians. 2785: 1729:

as particular examples. Thematic and narrative similarities with

1318: 880: 527: 368: 357: 338: 1713:

to be a throwback to '60s and '70s psychological horror, citing

1616:

of the 20th century. It also topped a similar list organised by

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In the week following Donald Sutherland's death in June 2024,

5008:

British Film Culture in the 1970s: The Boundaries of Pleasure

4705:"David Cronenberg: 'My imagination is not a place of horror'" 2863: 2700: 2698: 2696: 2683: 2681: 2679: 2487: 2485: 2424: 2422: 2397: 2395: 2393: 2391: 2366: 2364: 2362: 2360: 2272: 1334: 1069: 1057: 348:

The next day, Laura meets with Heather and Wendy, who hold a

2604:"The Diffusion of Giallo in Nicolas Roeg's 'Don't Look Now'" 2226: 2224: 2222: 2164: 2162: 2160: 2158: 2156: 2154: 2152: 3337: 3164: 3162: 1235:—marketed as a "psychic thriller"—was released in London's 575:

Besides Proust, other possible literary influences include

421: 363:

Shortly after returning to the hotel, Heather slips into a

4463:"Story of the Scene: 'Don't Look Now' Nicolas Roeg (1973)" 2693: 2676: 2638: 2636: 2544: 2482: 2446: 2419: 2388: 2357: 2347: 2345: 1775:, which incidentally is also produced by Roeg's son, Luc. 3887:"Co-Creator Ryan Murphy Interview: American Horror Story" 3768: 3766: 3735: 3733: 2781: 2219: 2149: 1314: 1306: 1177: 1089: 505:

Nicolas Roeg had employed the fractured editing style of

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on Christie's character was permitted; it was given an

4943:

Infamous Players: A Tale of Movies, the Mob, (and Sex)

3763: 3730: 3678:(Winners and nominees search on title: Don't Look Now) 3174: 3007: 3005: 1866:, Donald Sutherland's son. In the 2007 stage play of 1222:

Infamous Players: A Tale of Movies, the Mob, (and Sex)

4634: 4553:"Nicolas Roeg: 'I don't want to be ahead of my time'" 4482: 2621: 2188:"The sexual power and terror that produced a classic" 2130:"The sexual power and terror that produced a classic" 1836:, includes a number of explicit references; director 1612:

in 1999, saw the film ranked eighth on their list of

1192:, who oversaw the film's UK distribution, claimed on 4828:"Ice queen: Sophie Ellis-Bextor, pop's coolest diva" 4532: 4274: 2181: 2179: 2177: 1881:

Its influence is less obvious but still apparent in

1631:

finish in twelfth position. It has also featured in

1454:, but it was nevertheless a thriller of some depth. 1325:. Extras include an introduction by film journalist 4603: 4142: 3186: 2956:"Don't Look Now: No 3 best horror film of all time" 5319: 4693: 4665: 4544: 3509: 3345:"Don't Look Now (1973) – The Criterion Collection" 3254: 2918: 2916: 2293: 2291: 2289: 2287: 4572: 3862:"The 100 best horror films: the full list – 20–1" 3533: 3531: 3529: 3400: 3049: 3021: 2949: 2947: 2803: 2801: 2799: 2797: 2795: 2465: 2463: 2461: 2243: 2241: 2239: 2174: 396:-themed thriller in which the conventions of the 5536: 5163:Historical Journal of Film, Radio and Television 4426: 4051: 3996:"The League of Gentlemen: A league of their own" 3774:"The Greatest Films of All Time: Don't Look Now" 2058:"A Venezia... un dicembre rosso shocking (1973)" 2036:", and portions of the film were sampled in the 453:Much has been made of the fragmented editing of 3854: 3830: 3573: 3571: 3569: 3567: 3490: 3488: 3486: 3461: 3433: 3367: 3226: 3084: 3082: 3080: 2913: 2325: 2323: 2321: 2319: 2284: 2120: 2118: 2116: 2114: 2112: 1533:The use of Venice locations was highly praised. 1404: 4763: 4488: 4333: 4107: 4079: 3602: 3526: 2975: 2944: 2820: 2792: 2760: 2595: 2563: 2561: 2559: 2458: 2236: 408:Water and the colour red are recurring motifs. 5305: 4725: 4454: 4390: 4224: 4196: 4020: 3932: 3878: 3655: 3537: 2734: 2332:Don't Look Now: An Introduction by Alan Jones 1489:put him "right up at the top as film-maker". 845:was Roeg's third film as director, following 625:, in which an estranged couple (portrayed by 4819: 4791: 4362: 4302: 3987: 3956: 3904: 3692: 3630: 3564: 3483: 3077: 2316: 2109: 1799:acknowledged that it was a key influence on 5105: 4252: 4116:"VIFF: Antichrist: A pew in satan's church" 3642:British Academy of Film and Television Arts 2882: 2556: 2185: 1858:, a 1990 supernatural thriller directed by 5312: 5298: 5228: 5212: 4859:Taylor, Lesley Ciarula (9 February 2011). 4699: 3796: 3471:. United States: Reelgood. 20–26 June 2024 3406: 3198: 2514: 2512: 2075: 40: 5680:Films based on works by Daphne du Maurier 5182: 5080: 4432: 4258: 4170: 4057: 3846:. London. 9 February 2011. Archived from 3741:"The Greatest Films Poll: Don't Look Now" 3055: 3027: 2728: 2716: 2704: 2687: 2642: 2550: 2503: 2491: 2452: 2440: 2428: 2413: 2401: 2382: 2370: 2351: 2278: 2230: 2213: 2168: 1687:considerably for their television series 664:, who had co-written the screenplay with 4852: 4640: 3439: 3373: 2922: 2297: 2247: 2020:", which included lyrical references to 1528: 1526:screenplay has any right to expect it". 1110: 1106: 531:. Roeg served as the cinematographer on 403: 5055: 4965: 4516: 4339: 4113: 4085: 3838:"100 best British films: the full list" 3608: 3180: 2981: 2953: 2827:Herman, James Patrick (5 August 2019). 2601: 2509: 2050: 899:Roeg wanted Julie Christie to attend a 280:A Venezia... un Dicembre rosso shocking 5537: 5135: 5005: 4990: 4912: 4858: 4769: 4609: 4578: 4550: 4460: 4396: 4264:"The Films that Influenced Hereditary" 4230: 4202: 4026: 3884: 3638:"BAFTA Awards Search – Don't Look Now" 3168: 3143: 3121: 2984:"Day Beatty tried to ban sex scene..." 2826: 2816:Don't Look Now (Special Edition) (DVD) 2747:The Worldwide Guide To Movie Locations 2740: 2627: 2478:Don't Look Now (Special Edition) (DVD) 2338:Don't Look Now (Special Edition) (DVD) 2124: 2016:wrote a tribute song to Roeg, called " 1369:Masterpiece", a documentary featuring 1227: 1161:in the United States. In Britain, the 5293: 5160: 5030: 4861:"Best U.K. film ever? Don't Look Now" 4731: 4713:(Interview). Interviewed by Tim Lewis 4671: 4538: 4368: 4308: 4176: 3993: 3962: 3910: 3698: 3577: 3494: 3388:from the original on 30 November 2022 3192: 3088: 2848: 21:Not After Midnight, and Other Stories 5645:Italian psychological thriller films 5610:British psychological thriller films 4937: 4825: 4797: 4433:Cavendish, Dominic (16 March 2007). 4179:"Vinyan – Fabrice du Welz interview" 3940:"The Danny Boyle Webchat Transcript" 3885:Radish, Christina (27 August 2011). 3870:. London. April 2012. Archived from 3784:from the original on 4 December 2022 3260: 3011: 2888: 2567: 2253:"Don't Look Now and Roeg's red coat" 2062:Archivio del Cinema Italiano On-Line 1409:At the time of its initial release, 5660:Italian supernatural thriller films 5625:British supernatural thriller films 4489:O'Sullivan, Tom (6 February 2000). 4435:"Haunted by a spirit from the past" 4402:"Don't Look Now, Lyceum, Sheffield" 4231:Farber, Stephen (13 October 2011). 3609:Addiego, Walter (6 February 1998). 3056:Fernandez, Jay A. (24 March 2011). 3028:Fernandez, Jay A. (22 March 2011). 2923:Guthmann, Edward (1 January 1999). 2648: 2518: 1789:while directing her debut feature, 1361:discussing Roeg's cinematic style. 1220:executive at the time. In his book 13: 5725:English-language independent films 5605:British psychological horror films 5580:1970s psychological thriller films 4674:"Snow White and The 'Sizzle Reel'" 4291:. 2006. p. 18. Archived from 4282:""Casino Royale" production notes" 4058:Cavendish, Dominic (27 May 2005). 3538:Variety staff (31 December 1973). 3469:"Streaming Charts – Top 10 Movies" 3320:"Don't Look Now (Special Edition)" 2982:Clinton, Jane (14 December 2008). 2028:performed a "pop synth homage" to 980: 857:(1971). Although real-life couple 521:, but it was originated by editor 194:F.A.R. International Films (Italy) 14: 5741: 5655:Italian supernatural horror films 5620:British supernatural horror films 5196: 4461:Clarke, Roger (1 December 2006). 4150:"Stills life: Anthony Dod Mantle" 3994:Walsh, John (29 September 2005). 3611:"Basking in Christie's afterglow" 3421:from the original on 10 June 2019 3407:Billington, Alex (10 June 2019). 3234:"A vision of hell and high water" 2954:Billson, Anne (22 October 2010). 1973:, presenter of the radio series 1747:, commenting that he has watched 1566:won for Best Cinematography, and 1037:You Don't Have to Say You Love Me 412:The associative use of recurring 5575:1970s psychological horror films 5283:– an essay by David Thompson at 4892:Don't Look Now (Special Edition) 4826:Eyre, Hermione (28 April 2007). 4342:"Martin McDonagh on 'In Bruges'" 4086:Itzkoff, Dave (2 October 2011). 3374:Atanasov, Svet (8 August 2019). 2602:Stanley, Anya (4 October 2019). 1751:more times than any other film. 1707:considers his television series 1581: 1560:27th British Academy Film Awards 1014:Problems playing this file? See 996: 5590:1970s supernatural horror films 5259:John Landis on "Don't Look Now" 5085:. BFI Modern Classics. London: 4884: 4770:Taylor, Tom (31 October 2023). 4369:James, Caryn (10 August 1990). 4314:"See Naples and die. Literally" 4203:Thorpe, Vanessa (14 May 2011). 4114:Emerson, Jim (5 October 2009). 3376:"Don't Look Now Blu-ray Review" 2743:"Don't Look Now film locations" 2741:Reeves, Tony (11 August 2011). 1267:Confessions of a Window Cleaner 472: 376:of his own murder and funeral. 25:Don't Look Now (disambiguation) 5685:Films directed by Nicolas Roeg 5630:English-language Italian films 4551:Gilbey, Ryan (10 March 2011). 4060:"Stepping into the big League" 3948:. 5 April 2007. Archived from 3440:Northrup, Ryan (2 July 2024). 2186:O'Hagan, Sean (9 April 2006). 1739:have also been observed, with 992:Pino Donaggio – Don't Look Now 1: 5720:English-language horror films 5690:Films scored by Pino Donaggio 5635:Italian horror thriller films 5595:British horror thriller films 4672:Dodes, Rachel (24 May 2012). 3296:. 4 July 2011. Archived from 3206:"More Breakfast at Tiffany's" 2043: 1385:discuss the use of colour in 1297: 1173:—an adults only certificate. 1163:British Board of Film Censors 636: 5730:English-language crime films 5675:Films based on short fiction 5560:1970s English-language films 5175:10.1080/01439685.2014.879007 4233:"Killing a Hollywood Legacy" 4120:Jim Emerson's scanners: blog 2472:Don't Look Now: Looking Back 1769:cited it as an influence on 1638: 1405:Critical response and awards 1399: 558:, which depicted a red clad 480:is particularly indebted to 7: 5705:Films shot in Hertfordshire 5650:Italian serial killer films 5615:British serial killer films 4798:Wood, Jason (3 June 2005). 4289:Sony Pictures Entertainment 3911:Jones, Alice (7 May 2009). 2894:"Sex had to be on the menu" 2216:, pp. 30, 45 & 59. 1969:. Paranormal investigator, 1952:Snow White and the Huntsman 1772:We Need to Talk about Kevin 1761:has often been compared to 1281:Jonathan Livingston Seagull 1006:Sample from "Laura's Theme" 555:The Masque of the Red Death 379: 10: 5746: 5695:Films set in Hertfordshire 5280:Don't Look Now: Seeing Red 5012:Edinburgh University Press 4972:Edinburgh University Press 3671:Mystery Writers of America 3263:"Don't Look Now – Blu-ray" 1887:, a 1998 film directed by 1477:, Roeg's combined work on 1352:, an essay by film critic 1121:Sample from the love scene 1101: 973: 928: 875:Far from the Madding Crowd 837: 569:Remembrance of Things Past 18: 5640:Italian independent films 5600:British independent films 5585:1970s serial killer films 5489: 5470: 5443: 5361:The Man Who Fell to Earth 5328: 5035:. Abingdon, Oxfordshire: 2664:. American Film Institute 2083:""Don't Look Now" (1973)" 1999:The Man Who Fell to Earth 1840:said that the "Venice of 384: 259: 251: 234: 224: 210:16 October 1973 201: 181: 158: 148: 138: 128: 107: 99: 82: 61: 51: 46:Theatrical release poster 39: 34: 16:1973 film by Nicolas Roeg 5285:The Criterion Collection 5140:(illustrated ed.). 5081:Sanderson, Mark (1996). 4991:Deeley, Michael (2009). 3349:The Criterion Collection 3290:"Don't Look Now, Bluray" 3214:. BBC. 20 September 2000 947:San Nicolò dei Mendicoli 463:self-fulfilling prophecy 263:£566,501 ($ 1.3 million) 5665:Films about child death 5269:Moviedrome introduction 5247:Nicolas Roeg discusses 5142:McFarland & Company 5056:Mottram, James (2011). 4966:Chapman, James (2022). 4894:(DVD). United Kingdom: 4679:The Wall Street Journal 4340:Hammond, Wally (2008). 3704:"Don't Look Now (1974)" 3616:San Francisco Chronicle 2930:San Francisco Chronicle 2808:Gregory, David (2006). 2521:"Roeg, Nicolas (1928–)" 2470:Gregory, David (2002). 1690:The League of Gentlemen 1546:are always underfoot." 1180:cut it altogether when 509:on his previous films, 331: 5555:1973 independent films 5136:Shipka, Danny (2011). 5087:British Film Institute 5031:Kania, Andrew (2009). 4800:"His brilliant career" 4491:"Beg, borrow or steal" 3814:. 1999. Archived from 3812:British Film Institute 3778:British Film Institute 3747:. 2012. Archived from 3745:British Film Institute 3500:"Cinema: Second Sight" 3351:. 2014. Archived from 3063:The Hollywood Reporter 3035:The Hollywood Reporter 2531:British Film Institute 2091:British Film Institute 2087:Film & TV Database 1782:Picnic at Hanging Rock 1648: 1610:British Film Institute 1576:Edgar Allan Poe Awards 1534: 1519:in his review for the 1292:British Film Institute 1148:in a mainstream film. 1122: 985: 648:. The script based on 612:bears similarities to 409: 279: 23:. For other uses, see 5058:The Making of Memento 4913:Barber, Sian (2013). 4703:(14 September 2014). 2731:, pp. 19, 71–73. 2281:, pp. 10–11, 60. 1710:American Horror Story 1643: 1614:top 100 British films 1574:category at the 1974 1532: 1474:Monthly Film Bulletin 1305:has been released on 1253:was its accompanying 1120: 1107:Sex scene controversy 984: 461:can be regarded as a 407: 5710:Films shot in Venice 5452:Un Ballo in Maschera 5006:Harper, Sue (2011). 4646:"Submarine – review" 4130:on 29 September 2011 4030:(10 February 2001). 3850:on 13 February 2011. 3680:on 27 September 2018 3581:(10 December 1973). 3498:(10 December 1973). 3092:(20 December 1973). 2330:Jones, Alan (2006). 1792:Texas Killing Fields 1346:Criterion Collection 1078:acoustic bass guitar 594:Beyond Good and Evil 299:the 1971 short story 5715:Gothic horror films 5700:Films set in Venice 5570:1970s Italian films 5565:1970s British films 5498:Sweet Bird of Youth 5189:Budget: $ 1,332,657 4613:(29 January 2006). 4008:on 25 February 2011 3973:The Daily Telegraph 3804:"The BFI 100: 1–10" 3751:on 5 September 2012 3702:(13 October 2002). 3514:on 5 September 2009 2892:(3 February 2008). 2772:"Donald Sutherland" 2251:(18 January 2011). 2026:Sophie Ellis-Bextor 1633:Sight & Sound's 1572:Best Motion Picture 1564:Anthony B. Richmond 1493:similarly wrote in 1228:Theatrical releases 1199:Desert Island Discs 1141:Last Tango in Paris 866:cinematographer on 823:Detective Sabbione 5522:Samson and Delilah 5320:Films directed by 5263:Trailers From Hell 5221:Don't Look Now 5204:Don't Look Now 4919:Palgrave Macmillan 4840:on 21 October 2010 4376:The New York Times 4312:(26 August 2008). 3874:on 13 August 2013. 3588:The New York Times 3355:on 4 December 2022 3300:on 14 October 2011 3268:Home Cinema Choice 3171:, pp. 99–104. 2780:. 15 minutes in. 2014:Big Audio Dynamite 1745:Anthony Dod Mantle 1586:The reputation of 1535: 1461:The New York Times 1290:was chosen by the 1276:Paramount Pictures 1272:British Lion Films 1154:sexual intercourse 1123: 986: 903:prior to filming. 735:Bishop Barbarrigo 410: 189:British Lion Films 5670:Films about grief 5550:1973 horror films 5532: 5531: 5514:Full Body Massage 5506:Heart of Darkness 5479:Glastonbury Fayre 5119:Sight & Sound 5046:978-0-415-77474-1 4956:978-1-60286-139-8 4896:Optimum Releasing 4745:Chicago Sun-Times 4701:Cronenberg, David 4644:(17 March 2011). 4298:on 17 April 2012. 4124:Chicago Sun-Times 3952:on 16 April 2007. 3712:Chicago Sun-Times 3663:"Edgars Database" 3347:(Press release). 3294:Optimum Releasing 3292:(Press release). 3261:van Beek, Anton. 3102:Chicago Sun-Times 2856:"Nicolas Roeg on 2770:(22 March 2001). 2707:, pp. 17–19. 2690:, pp. 74–75. 2581:Movie Film Review 2553:, pp. 31–32. 2494:, pp. 14–15. 2455:, pp. 64–70. 2431:, pp. 25–27. 2404:, pp. 76–78. 2373:, pp. 61–62. 2233:, pp. 42–44. 2171:, pp. 21–23. 1917:Christopher Nolan 1889:Steven Soderbergh 1864:Kiefer Sutherland 1818:contains a small 1743:cinematographer, 1594:Sight & Sound 1522:Chicago Sun-Times 1506:Sight & Sound 1443:Films and Filming 1359:Steven Soderbergh 1118: 1033:Dusty Springfield 1001: 916:parapsychologists 835: 834: 806:Christine Baxter 745:Inspector Longhi 701:Donald Sutherland 674:Donald Sutherland 654:Daphne du Maurier 311:Donald Sutherland 303:Daphne du Maurier 293:film directed by 288: 267: 266: 170:Casey Productions 120:Donald Sutherland 94:Daphne du Maurier 5737: 5314: 5307: 5300: 5291: 5290: 5270: 5254:The Culture Show 5242:BFI Screenonline 5232: 5216: 5191: 5186: 5155: 5122: 5100: 5075: 5050: 5025: 5000: 4985: 4960: 4932: 4899: 4878: 4877: 4875: 4873: 4856: 4850: 4849: 4847: 4845: 4836:. Archived from 4823: 4817: 4816: 4814: 4812: 4795: 4789: 4788: 4786: 4784: 4767: 4761: 4760: 4758: 4756: 4747:. Archived from 4729: 4723: 4722: 4720: 4718: 4697: 4691: 4690: 4688: 4686: 4669: 4663: 4662: 4660: 4658: 4638: 4632: 4631: 4629: 4627: 4607: 4601: 4600: 4598: 4596: 4582:(9 April 2006). 4576: 4570: 4569: 4567: 4565: 4548: 4542: 4536: 4530: 4514: 4508: 4507: 4505: 4503: 4486: 4480: 4479: 4477: 4475: 4458: 4452: 4451: 4449: 4447: 4430: 4424: 4423: 4421: 4419: 4414:on 28 March 2011 4410:. Archived from 4400:(2 March 2007). 4394: 4388: 4387: 4385: 4383: 4366: 4360: 4359: 4357: 4355: 4337: 4331: 4330: 4328: 4326: 4306: 4300: 4299: 4297: 4286: 4278: 4272: 4271: 4256: 4250: 4249: 4247: 4245: 4228: 4222: 4221: 4219: 4217: 4200: 4194: 4193: 4191: 4189: 4177:Carnevale, Rob. 4174: 4168: 4167: 4165: 4163: 4146: 4140: 4139: 4137: 4135: 4126:. Archived from 4111: 4105: 4104: 4102: 4100: 4083: 4077: 4076: 4074: 4072: 4055: 4049: 4048: 4046: 4044: 4024: 4018: 4017: 4015: 4013: 4004:. Archived from 3991: 3985: 3984: 3982: 3980: 3966:(28 June 2019). 3960: 3954: 3953: 3936: 3930: 3929: 3927: 3925: 3908: 3902: 3901: 3899: 3897: 3882: 3876: 3875: 3858: 3852: 3851: 3834: 3828: 3827: 3825: 3823: 3818:on 3 August 2012 3800: 3794: 3793: 3791: 3789: 3770: 3761: 3760: 3758: 3756: 3737: 3728: 3727: 3725: 3723: 3714:. Archived from 3696: 3690: 3689: 3687: 3685: 3679: 3673:. Archived from 3659: 3653: 3652: 3650: 3648: 3634: 3628: 3627: 3625: 3623: 3606: 3600: 3599: 3597: 3595: 3575: 3562: 3561: 3559: 3557: 3548:. Archived from 3540:"Don't Look Now" 3535: 3524: 3523: 3521: 3519: 3513: 3508:. Archived from 3492: 3481: 3480: 3478: 3476: 3465: 3459: 3458: 3456: 3454: 3437: 3431: 3430: 3428: 3426: 3414:FirstShowing.net 3404: 3398: 3397: 3395: 3393: 3371: 3365: 3364: 3362: 3360: 3341: 3335: 3334: 3332: 3330: 3316: 3310: 3309: 3307: 3305: 3286: 3280: 3279: 3277: 3275: 3258: 3252: 3251: 3249: 3247: 3230: 3224: 3223: 3221: 3219: 3202: 3196: 3190: 3184: 3178: 3172: 3166: 3157: 3141: 3135: 3119: 3113: 3112: 3110: 3108: 3094:"Don't Look Now" 3086: 3075: 3074: 3072: 3070: 3053: 3047: 3046: 3044: 3042: 3025: 3019: 3009: 3000: 2999: 2997: 2995: 2979: 2973: 2972: 2970: 2968: 2951: 2942: 2941: 2939: 2937: 2920: 2911: 2910: 2908: 2906: 2886: 2880: 2879: 2877: 2875: 2870:on 15 March 2012 2866:. 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Archived from 2079: 2073: 2072: 2070: 2068: 2054: 2040:song "America". 2032:with her song, " 1961:David Cronenberg 1907:Steven Spielberg 1902:Schindler's List 1874:and directed by 1677:Reece Shearsmith 1656: 1501:Penelope Houston 1379:David Cronenberg 1323:Ultra HD Blu-ray 1119: 1027:was composed by 1003: 1002: 983: 820: 803:Sharon Williams 795:Nicholas Salter 782:Anthony Babbage 768:Leopoldo Trieste 759: 751:Giorgio Trestini 679: 678: 660:by scriptwriter 646:Anthony B. Unger 631:Anita Strindberg 622:Who Saw Her Die? 498:approach to its 482:Alfred Hitchcock 283: 217: 215: 191:(United Kingdom) 133:Anthony Richmond 44: 32: 31: 5745: 5744: 5740: 5739: 5738: 5736: 5735: 5734: 5535: 5534: 5533: 5528: 5485: 5466: 5439: 5324: 5318: 5268: 5226:Rotten Tomatoes 5199: 5152: 5097: 5072: 5062:Faber and Faber 5047: 5022: 4982: 4957: 4947:Weinstein Books 4929: 4887: 4882: 4881: 4871: 4869: 4857: 4853: 4843: 4841: 4833:The Independent 4824: 4820: 4810: 4808: 4796: 4792: 4782: 4780: 4768: 4764: 4754: 4752: 4751:on 18 July 2012 4735:(5 June 1979). 4730: 4726: 4716: 4714: 4698: 4694: 4684: 4682: 4670: 4666: 4656: 4654: 4642:Bradshaw, Peter 4639: 4635: 4625: 4623: 4608: 4604: 4594: 4592: 4577: 4573: 4563: 4561: 4549: 4545: 4537: 4533: 4515: 4511: 4501: 4499: 4487: 4483: 4473: 4471: 4468:The Independent 4459: 4455: 4445: 4443: 4431: 4427: 4417: 4415: 4407:The Independent 4395: 4391: 4381: 4379: 4367: 4363: 4353: 4351: 4338: 4334: 4324: 4322: 4307: 4303: 4295: 4284: 4280: 4279: 4275: 4262:(8 June 2018). 4257: 4253: 4243: 4241: 4238:The Daily Beast 4229: 4225: 4215: 4213: 4201: 4197: 4187: 4185: 4175: 4171: 4161: 4159: 4148: 4147: 4143: 4133: 4131: 4112: 4108: 4098: 4096: 4084: 4080: 4070: 4068: 4056: 4052: 4042: 4040: 4025: 4021: 4011: 4009: 4001:The Independent 3992: 3988: 3978: 3976: 3961: 3957: 3938: 3937: 3933: 3923: 3921: 3918:The Independent 3909: 3905: 3895: 3893: 3883: 3879: 3860: 3859: 3855: 3836: 3835: 3831: 3821: 3819: 3802: 3801: 3797: 3787: 3785: 3772: 3771: 3764: 3754: 3752: 3739: 3738: 3731: 3721: 3719: 3697: 3693: 3683: 3681: 3677: 3661: 3660: 3656: 3646: 3644: 3636: 3635: 3631: 3621: 3619: 3607: 3603: 3593: 3591: 3576: 3565: 3555: 3553: 3552:on 29 June 2011 3536: 3527: 3517: 3515: 3493: 3484: 3474: 3472: 3467: 3466: 3462: 3452: 3450: 3438: 3434: 3424: 3422: 3405: 3401: 3391: 3389: 3372: 3368: 3358: 3356: 3343: 3342: 3338: 3328: 3326: 3318: 3317: 3313: 3303: 3301: 3288: 3287: 3283: 3273: 3271: 3259: 3255: 3245: 3243: 3242:. 25 March 2001 3232: 3231: 3227: 3217: 3215: 3204: 3203: 3199: 3191: 3187: 3179: 3175: 3167: 3160: 3142: 3138: 3120: 3116: 3106: 3104: 3087: 3078: 3068: 3066: 3054: 3050: 3040: 3038: 3026: 3022: 3010: 3003: 2993: 2991: 2980: 2976: 2966: 2964: 2952: 2945: 2935: 2933: 2921: 2914: 2904: 2902: 2887: 2883: 2873: 2871: 2854: 2853: 2849: 2839: 2837: 2825: 2821: 2810:Death in Venice 2807: 2806: 2793: 2766: 2765: 2761: 2751: 2749: 2739: 2735: 2727: 2723: 2715: 2711: 2703: 2694: 2686: 2677: 2667: 2665: 2654: 2653: 2649: 2641: 2634: 2626: 2622: 2612: 2610: 2600: 2596: 2586: 2584: 2566: 2557: 2549: 2545: 2535: 2533: 2519:Sinyard, Neil. 2517: 2510: 2502: 2498: 2490: 2483: 2469: 2468: 2459: 2451: 2447: 2439: 2435: 2427: 2420: 2412: 2408: 2400: 2389: 2381: 2377: 2369: 2358: 2350: 2343: 2329: 2328: 2317: 2304:(207): 160–161. 2296: 2285: 2277: 2273: 2263: 2261: 2249:Bradshaw, Peter 2246: 2237: 2229: 2220: 2212: 2208: 2198: 2196: 2184: 2175: 2167: 2150: 2140: 2138: 2123: 2110: 2100: 2098: 2081: 2080: 2076: 2066: 2064: 2056: 2055: 2051: 2046: 1860:Joel Schumacher 1838:Martin McDonagh 1810:James Bond film 1777:Ami Canaan Mann 1753:Fabrice Du Welz 1720:Rosemary's Baby 1673:Steve Pemberton 1658: 1651:Ryan Murphy on 1650: 1641: 1584: 1458:, reviewer for 1407: 1402: 1300: 1230: 1186:unsimulated sex 1126:Don't Look Now' 1111: 1109: 1104: 1074:acoustic guitar 1021: 1020: 1012: 1010: 1009: 1008: 1007: 1004: 997: 994: 987: 981: 976: 939:Graeme Clifford 931: 840: 828:Adelina Poerio 814: 753: 656:was offered to 650:the short story 639: 475: 467:Graeme Clifford 387: 382: 334: 297:, adapted from 247: 227: 220: 213: 211: 204: 197: 177: 176: 163: 161: 143:Graeme Clifford 124: 91: 78: 47: 28: 17: 12: 11: 5: 5743: 5733: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5697: 5692: 5687: 5682: 5677: 5672: 5667: 5662: 5657: 5652: 5647: 5642: 5637: 5632: 5627: 5622: 5617: 5612: 5607: 5602: 5597: 5592: 5587: 5582: 5577: 5572: 5567: 5562: 5557: 5552: 5547: 5530: 5529: 5527: 5526: 5518: 5510: 5502: 5493: 5491: 5487: 5486: 5484: 5483: 5474: 5472: 5468: 5467: 5465: 5464: 5460:Hotel Paradise 5456: 5447: 5445: 5441: 5440: 5438: 5437: 5429: 5421: 5413: 5405: 5397: 5389: 5385:Insignificance 5381: 5373: 5365: 5357: 5353:Don't Look Now 5349: 5341: 5332: 5330: 5326: 5325: 5317: 5316: 5309: 5302: 5294: 5288: 5287: 5276: 5265: 5256: 5249:Don't Look Now 5244: 5237:Don't Look Now 5233: 5217: 5198: 5197:External links 5195: 5194: 5193: 5157: 5156: 5151:978-0786448883 5150: 5132: 5131: 5115:Don't Look Now 5102: 5101: 5095: 5083:Don't Look Now 5077: 5076: 5070: 5052: 5051: 5045: 5027: 5026: 5020: 5002: 5001: 4987: 4986: 4980: 4962: 4961: 4955: 4934: 4933: 4927: 4909: 4908: 4886: 4883: 4880: 4879: 4851: 4818: 4790: 4762: 4741:rogerebert.com 4724: 4692: 4664: 4633: 4611:French, Philip 4602: 4580:French, Philip 4571: 4543: 4541:, p. 133. 4531: 4509: 4481: 4453: 4425: 4389: 4361: 4332: 4301: 4273: 4251: 4223: 4195: 4169: 4158:. 30 June 2009 4141: 4106: 4078: 4050: 4028:McLean, Gareth 4019: 3986: 3955: 3931: 3903: 3877: 3853: 3829: 3795: 3762: 3729: 3708:rogerebert.com 3691: 3654: 3629: 3601: 3579:Canby, Vincent 3563: 3525: 3482: 3460: 3432: 3399: 3366: 3336: 3324:StudioCanal UK 3311: 3281: 3253: 3225: 3197: 3185: 3183:, p. 253. 3173: 3158: 3136: 3114: 3098:rogerebert.com 3076: 3048: 3020: 3001: 2974: 2943: 2912: 2881: 2858:Don't Look Now 2847: 2819: 2791: 2777:Scene by Scene 2759: 2733: 2729:Sanderson 1996 2721: 2717:Sanderson 1996 2709: 2705:Sanderson 1996 2692: 2688:Sanderson 1996 2675: 2647: 2643:Sanderson 1996 2632: 2630:, p. 110. 2620: 2594: 2583:. Chris Tookey 2575:Don't Look Now 2573:"Excerpt from 2555: 2551:Sanderson 1996 2543: 2508: 2504:Sanderson 1996 2496: 2492:Sanderson 1996 2481: 2457: 2453:Sanderson 1996 2445: 2441:Sanderson 1996 2433: 2429:Sanderson 1996 2418: 2414:Sanderson 1996 2406: 2402:Sanderson 1996 2387: 2383:Sanderson 1996 2375: 2371:Sanderson 1996 2356: 2352:Sanderson 1996 2341: 2315: 2283: 2279:Sanderson 1996 2271: 2235: 2231:Sanderson 1996 2218: 2214:Sanderson 1996 2206: 2173: 2169:Sanderson 1996 2148: 2126:French, Philip 2108: 2074: 2048: 2047: 2045: 2042: 2030:Don't Look Now 2022:Don't Look Now 1957:Rupert Sanders 1947:Richard Ayoade 1897:Jennifer Lopez 1893:George Clooney 1868:Don't Look Now 1850:Don't Look Now 1842:Don't Look Now 1787:Don't Look Now 1763:Don't Look Now 1749:Don't Look Now 1731:Lars von Trier 1715:Don't Look Now 1701:Don't Look Now 1696:The Wicker Man 1685:Don't Look Now 1661:Don't Look Now 1653:Don't Look Now 1642: 1640: 1637: 1629:Don't Look Now 1606:Don't Look Now 1602:critics poll. 1588:Don't Look Now 1583: 1580: 1568:Don't Look Now 1512:Don't Look Now 1487:Don't Look Now 1436:The New Yorker 1411:Don't Look Now 1406: 1403: 1401: 1398: 1394:Don't Look Now 1387:Don't Look Now 1350:Bobbie O'Steen 1303:Don't Look Now 1299: 1296: 1288:Don't Look Now 1259:Don't Look Now 1250:The Wicker Man 1233:Don't Look Now 1229: 1226: 1190:Michael Deeley 1182:Don't Look Now 1108: 1105: 1103: 1100: 1086:Brian De Palma 1041:Don't Look Now 1011: 1005: 995: 990: 989: 988: 979: 978: 977: 975: 972: 930: 927: 890:Don't Look Now 869:Fahrenheit 451 843:Don't Look Now 839: 836: 833: 832: 829: 825: 824: 821: 812:Bruno Cattaneo 808: 807: 804: 800: 799: 798:Johnny Baxter 796: 792: 791: 790:Mandy Babbage 788: 784: 783: 780: 774: 773: 772:Hotel Manager 770: 764: 763: 760: 747: 746: 743: 737: 736: 733: 731:Massimo Serato 727: 726: 723: 721:Clelia Matania 717: 716: 713: 707: 706: 703: 697: 696: 693: 691:Julie Christie 687: 686: 683: 670:Julie Christie 642:Don't Look Now 638: 635: 627:George Lazenby 610:Don't Look Now 606:exploitational 507:Don't Look Now 478:Don't Look Now 474: 471: 459:Don't Look Now 455:Don't Look Now 443:Don't Look Now 390:Don't Look Now 386: 383: 381: 378: 333: 330: 322:Don't Look Now 307:Julie Christie 271:Don't Look Now 265: 264: 261: 257: 256: 253: 249: 248: 246: 245: 242: 241:United Kingdom 238: 236: 232: 231: 228: 225: 222: 221: 219: 218: 207: 205: 202: 199: 198: 196: 195: 192: 185: 183: 182:Distributed by 179: 178: 175: 174: 173:Eldorado Films 171: 167: 166: 164: 159: 156: 155: 150: 146: 145: 140: 136: 135: 130: 129:Cinematography 126: 125: 123: 122: 117: 115:Julie Christie 111: 109: 105: 104: 101: 97: 96: 88:Don't Look Now 84: 80: 79: 77: 76: 71: 65: 63: 59: 58: 53: 49: 48: 45: 37: 36: 35:Don't Look Now 15: 9: 6: 4: 3: 2: 5742: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5701: 5698: 5696: 5693: 5691: 5688: 5686: 5683: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5651: 5648: 5646: 5643: 5641: 5638: 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5159: 5158: 5153: 5147: 5143: 5139: 5134: 5133: 5129: 5125: 5120: 5116: 5112: 5111:Bryant, Chris 5108: 5104: 5103: 5098: 5096:0-85170-572-3 5092: 5088: 5084: 5079: 5078: 5073: 5071:9780571279517 5067: 5063: 5059: 5054: 5053: 5048: 5042: 5038: 5034: 5029: 5028: 5023: 5021:9780748654260 5017: 5013: 5009: 5004: 5003: 4998: 4997:Pegasus Books 4994: 4989: 4988: 4983: 4981:9781399500760 4977: 4973: 4969: 4964: 4963: 4958: 4952: 4948: 4944: 4940: 4936: 4935: 4930: 4928:9781137305923 4924: 4920: 4916: 4911: 4910: 4906: 4905:5060034577164 4902: 4897: 4893: 4889: 4888: 4868: 4867: 4862: 4855: 4839: 4835: 4834: 4829: 4822: 4807: 4806: 4801: 4794: 4779: 4778: 4773: 4766: 4750: 4746: 4742: 4738: 4734: 4728: 4712: 4711: 4706: 4702: 4696: 4681: 4680: 4675: 4668: 4653: 4652: 4647: 4643: 4637: 4622: 4621: 4616: 4612: 4606: 4591: 4590: 4585: 4581: 4575: 4560: 4559: 4554: 4547: 4540: 4535: 4528: 4525:, p. 172, at 4524: 4523: 4518: 4513: 4498: 4497: 4492: 4485: 4470: 4469: 4464: 4457: 4442: 4441: 4440:The 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