Play media Sample from the love scene.
The following essay contains spoilers. I can still recall emerging from the experience elated and also in something like a state of shock.
In the early seventies, when even mainstream films could be fearless and experimental, smashing taboos and taunting the censors, cinema-going was Nicholas roegs dont look now essay uniquely intense experience. Her tale begins intriguingly enough: They are holidaying in Venice, where they encounter two eccentric sisters, one of whom is blind and psychic and claims to see their daughter.
When he accidentally knocks a glass of water over it, the red bleeds across the slide, and an image of the red-coated Christine becoming submerged in the pond outside enters his mind.
Later, in Venice, the same color will prompt another dreadful association for John when he glimpses a scampering short figure in red—perhaps a child, perhaps Christine, for certain his nemesis.
In all three films, the color red is a significant motif, appearing, respectively, in the hooded, faceless figure of Death, brightly painted fire engines, and the uniform of the dashing Sergeant Troy. In story and film, though John is the skeptic and his wife, Laura, susceptible to the idea of a world beyond presented by the sisters, it is he who actually foresees the future but fails to heed the warnings of danger.
But does he believe all he sees?
The first deals with the death of Christine, the second with the murder of John, when, as with the proverbial drowning man, his life flashes past in his mind in a seemingly random collection of images from throughout the film. Roeg also employs music to reinforce the connection between these two sequences.
Roeg filmed Donald Sutherland and Julie Christie as a couple having sex who are still very much in love with each other, without recourse to unusual gymnastics on their part or prettily stylized camera angles on his. Furthermore, he intercuts their nude rolling around with shots of them getting dressed later, granting their intimacy a verisimilitude and normalcy that are rarely seen in cinema.
Roeg has even encouraged the interpretation that, when Laura smiles proudly in the final images of the funeral in Venice, it is not just because she feels that Christine and John are united in another world but also because she knows she is pregnant.
Which time are we truly experiencing—past, present, or future? All of them at once, perhaps?
The shot of a female corpse being raised out of the canal waters is married to the image of Christine drowning, but this time it is just perceptibly in reverse motion. This masterly use of editing Roeg working here in collaboration with future director Graeme Clifford is especially evident in the scene in which John almost falls to his death from a raised platform in the church he is restoring.
After a series of evenly timed shots showing different angles of him at work, we finally perceive with the help of a slight creak on the soundtrackat the top of the frame, a length of wood falling toward him in slow motion.
Then, in a shot looking down from over his head, real time is extended so that the anticipated crash of the glass just above him is delayed, creating an even greater shock. John ends up swinging from a rope, the constant switching of angles building up the appalling sense of vertigo all of which was prefigured in an earlier shot of Laura falling in slow motion, in a fit of dizziness.
Sutherland has recalled how he agreed to perform this dangerous stunt himself after his double refused to do it, only later discovering that the wire that was supposed to make it safe could have easily snapped at any moment.
Dec 13, · Don't Look Now, however, is a film which cannot fail to last long in the mind. It is easy to love the film for its rare depth of character, its beautiful yet disturbing plot, the stunning Venice setting, the tender and original love scene or just for Donald Sutherland's never-rivalled wig!/10(K). Nicolas Roeg’s ‘Don’t Look Now’ is a special kind of a supernatural thriller that aptly deals with subjects far from supernatural Set in the dream-like landscape of the mesmerizing city of Venice painted in dark, somber tones, Nicolas Roeg’s Don’t Look Now is a special kind of . During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative. Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six.
Nothing is as it seems. But while Visconti depicts the city in the fetid heat of summer, Roeg shows us a Venice shrouded literally, in the case of the hotel furniture in winter dampness and death.
There is little sense in the film of the iconic city as an overcrowded tourist destination, and famous views are carefully avoided St. Roeg and his director of photography, Anthony Richmond, using handheld cameras and zooms in a daringly free way, exploit the labyrinthine quality of the narrow backstreets, in which turning corners takes you from dark solitude to public frivolity and back again in an instant.
Christie and Sutherland were his first choices for Laura and John, and though they were both initially unavailable, their prior commitments fell through at just the right moment. Both actors give career-best performances, playing off each other instinctually like a genuine couple.
For the scene where Laura makes a sudden decision to enter a church, Roeg used the divergent spontaneous reactions of the two actors to the building to replace scripted dialogue, with Christie enthusiastically lighting candles as Sutherland distractedly plays with an electric lamp.
The two sisters are also ideally cast, for both their banality and their eccentricity, and Roeg is not above throwing in a shot of them laughing over a set of family photographs to suggest they may not be as sincere as Laura—and perhaps the audience—believes them to be.
Roeg reinforced the cultural barrier between the anxious John and the dubious policeman by his choice of an Italian actor whose English was very poor, and who had learned his lines without fully understanding them. The result is an outstandingly rich film that—for a genre that is usually all about explaining a mystery away—can chill and surprise on repeated viewings.
Roeg boldly demonstrates that psychic phenomena need not be the stuff of fantasy but can be rooted in the life experiences we all share—birth, sex, and death.Nicolas Roeg’s ‘Don’t Look Now’ is a special kind of a supernatural thriller that aptly deals with subjects far from supernatural Set in the dream-like landscape of the mesmerizing city of Venice painted in dark, somber tones, Nicolas Roeg’s Don’t Look Now is a special kind of .
A masterpiece from Nicolas Roeg, Don’t Look Now, adapted from a story by Daphne du Maurier, is a brilliantly disturbing tale of the supernatural, as renowned for its innovative editing and haunting cinematography as its naturalistic eroticism and unforgettable climax and denouement, one of the great endings in horror initiativeblog.comor: Nicolas Roeg.
In director Nicolas Roeg's movie classic of the English supernatural, Don't Look Now trailer, based on the short story by Daphne du Maurier, this mac is what she is wearing when she drowns in. 5 days ago · Nicolas Roeg, a visionary filmmaker behind 'The Man Who Fell to Earth,' 'Performance' and 'Don't Look Now,' has died at the age of Nicolas Roeg, .
Don't Look Now (Italian: A Venezia un Dicembre rosso shocking) is a independent film directed by Nicolas initiativeblog.com is a thriller adapted from the short story by Daphne du Maurier.
Julie Christie and Donald Sutherland portray a married couple who travel to Venice following the recent accidental death of their daughter, after the husband accepts a commission to restore a church.
During the opening six minutes of Nicholas Roeg’s film Don’t Look Now, the viewer experiences a dynamic mixture of film techniques that form the first part of the narrative.
Using metaphor and imagery, Roeg constructs a vivid and unique portrayal of his parallel storyline. The opening six.