"DON'T LOOK NOW"
1973, Optimum Releasing, DD-2.0/MA/LB/16:9/+,105m 25s, £17.99, DVD-2 PAL
This extraordinary, influential Nicolas Roeg film was based on a novella by Daphne Du Maurier, originally included in her 1971 collection NOT BEFORE MIDNIGHT and republished in 2006 as DON'T LOOK NOW AND OTHER STORIES -- a reappearance testifying to the movie's status as a modern classic. Not only is it one of the most tantalizing films ever to explore the subject of the paranormal, it is also one of the most complete, balanced and satisfying films about normal waking life.
The story profiles a married couple healing in the wake oftheir daughter's accidental death by drowning, the wife Laura (Julie Christie) finding peace through two psychic sisters (Hilary Mason and Clelia Matania), while her scoffing architect husband John (Donald Sutherland) restores a derelict church in the waterbound city of Venice.
In telling this story, "DON'T LOOK NOW" (the quotation marks appear onscreen) seems to touch on more facets of human experience than so-called mainstream films tend to do: working, making love, eating, vomiting, defecating, arguing, sleeping, worshipping, doubting, mourning, fearing, laughing, surviving brushes with death, and -- above all -- the fleeting and curiously meaningful déja vu
moments that accumulate within and without us throughout our lifetime. Edited by Graham Clifford (with whom Roeg had been working since 1968's PETULIA), the film shuffles past, present and future tenses of visual information as radically as any of Roeg's other works (PERFORMANCE, THE MAN WHO FELL TO EARTH, EUREKA and BAD TIMING to name the most conspicuous), yet it remains the most approachable of them all, its fractured visual continuity striking a near-miraculous balance of emotional and cerebral sense, the technique almost organically attuned to the story being told -- namely, John's rejection of his own psychic intuitions.
Now more than thirty years old, "DON'T LOOK NOW" still looks fairly contemporary and has lost very little of its initial power, though it's most vital in its first few viewings, when one is most enthusiastically engaged in the initial decoding of its various color keys and resonating images. Once one has begun to exhaust this engaging process, the film can begin to look overly deliberate, but chances are that you'll still be sussing out new layers to appreciate well into your tenth viewing and beyond. (I've seen it about ten times myself and found myself noticing repeat appearances by the daughter's ball this time around.)
This "Special Edition" import disc makes use of a new Studio Canal anamorphic master that looks quite crisp, immaculate, and colorful. An exciting incentive to this purchase is the addition of a feature-length audio commentary by director Roeg, moderated byAdam Smith. Roeg tends to ramble obliquely and elliptically in a muttering voice, frequently failing to finish sentences and trains of thought, but the track is nevertheless a worthwhile reference for tenacious listeners. Among its interesting revelations: John and Laura's daughter Christine, a role credited to Sharon Williams, was ultimately played by three different young actresses, due to Williams' unexpectedly extreme reaction to filming her drowning scene. The filming of the picture's celebratedly authentic lovemaking scene is also covered in fair detail; incredibly, it was the very first scene to be shot -- in an actual hotel room, with just Sutherland, Christie, Roeg and cameraman Anthony Richmond present, as well as a bottle or two of courage. Roeg's memory fails him on occasion, as when he mistakenly recalls the film being released in America with an X rating; it was actually trimmed (losing a shot or two from the love-making scene, and some of the final murder victim's twitching) to qualify for an R rating.
Still more interesting are two Blue Underground-produced featurettes, "'DON'T LOOK NOW' Looking Back" (19m 31s, interviewing Roeg, Richmond and editor Graham Clifford) and "Death in Venice" (17m 36s, interviewing composer Pino Donaggio), both directed by David Gregory. The former is very good and properly illuminating, with a wicked backdrop for its more coherent Roeg talk, but the Donaggio profile stands out as one of the most pleasingly detailed film music featurettes I've seen on DVD. The composer, visited at his home facing the Venetian Grand Canal, has perfect recall of the circumstances behind this, his first film score, and he speaks unaffectedly about his earlier career as a singer, how he was approached and hired without prior scoring experience, how he developed specific themes and motifs, and how his score for this picture led to his discovery by Brian DePalma for CARRIE and a new and still-thriving career abroad.
Also included are an onscreen Introduction by ROUGH GUIDE TO HORROR MOVIES author Alan Jones, the film's original UK trailer (2m 14s), and a 16-page booklet with numerous rare photos and a sensitive, well-written appreciation by Ryan Gilbey. Available domestically from Xploited Cinema